Lion and  the  Mouse 


.LES  KLEIN 


SAMTTPT 


-10  on  xvr 


Kfev- 


JL 


THE  LION  AND  THE  MOUSE 


A  Play  in  Four  Acts 


BY 

CHARLES  KLEIN 


OOPTBIGHT.  1906,  BT  CHARLES  KLEIN 


ALL  RIGHTS  RESERVED 

CAUTION.-An  persons  are  hereby  warned  that  "THE  LION  AND 
THE  MOUSE."  being  fully  protected  under  the  Copyright  Laws  of  the 
United  Statet*.  is  subject  to  Royalty,  and  any  one  presenting  the  piay 
without  the  consent  of  the  owners  or  thier  authorized  agents  will  be 
liable  for  the  penalties  by  law  provided.  Application  for  the  amateur 
rightsmust  be  made  to  SAMUEL  FRENCH,  28-30  West  88th  Street,  New 
York  City,-  Application  for  the  professional  acting  rights  must  be 
made  to  THE  AMERICAN  PLAY  COMPANY,  S3  West  42nd  street, 
New  York  Gtty. 


NEW  YORK 
SAMUEL  'FRENCH 

PUBLISHER 

28-30  WEST  38TH  STREET 


LONDON 
SAMUEL  FRENCH,  LTD. 

20    SOUTHAMPTON    STREET 

STRAND 


Especial  notice  should  be  taken  that  the  possession  of  this 
book  without  a  valid  contract  for  production  first  having 
been  obtained  from  the  publisher,  confers  no  ^ght  or  license 
to  professionals  or  amateurs  to  produce  the  play  publicly  or 
in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance  of  it  may  be  given  except 
by  special  arrangement  with  Samuel  French,  28-30  West  38th 
Street,  New  York. 

SECTION  28— That  any  person  who  wilfully  or  for  profit 
shall  infringe  any  copyright  secured  by  this  act,  or  who  shall 
knowingly  and  wilfully  aid  or  abet  such  infringement  shall 
be  deemed  guilty  of  a  misdemeanor,  and  upon  conviction 
thereof  shall  be  punished  by  imprisonment  for  not  exceeding 
one  year,  or  by  a  fine  of  not  less  than  one  hundred  nor  more 
than  one  thousand  dollars,  or  botht  in  the  discretion  of  the 
court. 

Act  of  March  4,  1909, 


THE  LION  AND  THE  MOUSE. 


A  Play  in  Four  Acts 

BY  CHARLES  KLEIN. 

Anthor  of  the  "Music  Master"  etc. 

Originally  produced  at  the  "  Lyceum  Theatre/' 
New  York,  Nov.  2Oth,  1905. 

With  the  following  cast. 

N.  B.    The  characters  are  named  in  the  order  in 
which  they  first  appear. 

EUDOXIA SADIE  STRINGHAM 

REV.  PONTIFEX  BEETLE EDWARD  SEE 

JANE  BEETLE MARGARET  GRAY 

MRS.  ROSSMORE * JULIA  HANCHETT 

MTSS  NESBIT 0 .  CAROLYN  ELBERTS 

JUDGE  ROSSMORE WALTER  ALLEN 

Ex- JUDGE  STOTT FRAZER  COULTER 

EXPRESSMAN JAMES  T.  MCBONALD 

TOBY  RICKETTS AUGUSTIN  BALY  WILKS 

SHIRLEY GRACE  ELLISTON 

JEFFERSON  RYDER RICHARD  BENNETT 

(By  courtesy  of  Charles  Frohman.) 

HON.  FITZROY  BAGLEY MARTIN  SABINE 

JORKINS JAMES  STONE 

SENATOR  ROBERTS E.  A.  EBERLE 

KATE  ROBERTS MARION  POLLOCK  JOHNSON 

MRS.  JOHN  BURKETT  RYDER   MARGUERITE  ST.  JOHN 

JOHN  BURKETT  RYDER EDMUND  BREESE 

MAID RUTH  RICHMOND 


3  « '1731 


THE  LION  AND  THE  MOUSE. 


SYNOPSIS. 

ACT  I.  Reception  room  in  ROSSMORE'S  Cottage 
in  a  small  Long  Island  Village. 

ACT  II.  Inner  Private  Library  in  the  RYDER 
Mansion  on  Fifth  Avenue. 

(Lapse  of  six  weeks.) 
ACT  III.    Same  as  ACT  II. 

(Lapse  of  two  months.) 

ACT  IV.  SHIRLEY'S  suite  in  the  RYDER  Establish 
ment. 

(The  next  morning.) 
TIME: — The  present. 


THE  LION  AND  THE  MOUSE 


ACT  I. 

SCENE: — Combination  reception  and  dining  room 
in  a  cottage  in  a  small  Long  Island  village,  set 
ting  according  to  diagram.  Bell  at  rise.  As 
curtain  rises,  EUDOXIA,  a  sour-faced  New 
England,  gawky  type  of  girl,  with  a  constant 
scoivl  on  her  face,  is  ushering  into  the  inner 
room  the  REVEREND  PONTIFEX  BEETLE  and  his 
sister,  JANE  BEETLE.  PONTIFEX  is  a  country 
parson  and  has  a  small  face  with  pointed  nose. 
He  is  a  callow  youth  of  forty.  Theology  is 
written  on  his  brow.  His  sister  is  a  young  wo 
man  who  looks  as  if  she  is  constantly  under 
self  restraint  and  was  going  to  explode  into  a 
fit  of  rage,  but  zvith  considerable  effort  manages 
to  repress  herself. 

EUDOXIA.  (Enters  L.  and  crosses  to  R.  door) 
I  can't  be  taking  my  hands  out  of  the  flour  all  the 
time.  Nothing  was  ever  said  to  me  about  answer 
ing  bells  all  day.  Mr.  Rossmore  is  out.  (Shakes 
head)  'Tain't  no  use,  they  don't  see  visitors. 

PONTIFEX.  Kindly  inform  Mr.  and  Mrs.  Ross- 
more  that  the  Reverend  Pontifex  Beetle  and  his 
sister  Jane  Pontifex  Beetle  have  called  to  present 
their  compliments.  (Crosses  from  R.  D.  to  L. 

5 


6  THE  LION  AND  THE  MOUSE. 

Hands  her  a  card)  Sit  down,  Jane.  (Points  to 
chair,  JANE  sits  reluctantly) 

EUDOXIA.  (Looks  at  them  hopelessly)  She'll 
blame  me  for  this. 

PONTIFEX.    Blame  you?    For  what? 

EUDOXIA.  She  told  me  to  say  she  was  out,  but 
she  isn't.  I  can't  lie  to  a  minister  of  the  gospel. 
(Looks  away)  Leastways  not  to  his  face.  I'll 
give  her  your  card,  sir.  (Exits  upstairs) 

PONTIFEX.  (Waits  until  EUDOXIA  has  disap 
peared — looks  around  curiously.  Pitks  up  paper) 
Law  Papers.  Wall  Street  Reports,  the  God  of  this 
world — (Throws  it  down  in  disgust)  Evidently 
ordinary  people,  Jane.  (Goes  to  mantel,  looks  at 
letter) 

JANE.  As  such  they  will  not  thank  us  for  prying 
into  their  affairs. 

PONTIFEX.    Prying  ? 

JANE.    Just  plain  prying.    What  else  is  it? 

PONTIFEX.  It  is  protecting  my  flock — as  leader 
of  the  United  All  Souls  Baptismal  Presbytery  it  is 
my  duty  to  visit  the  widows  and  orphans. 

JANE.  These  people  are  neither  widows  or 
orphans. 

PONTIFEX.  They  are  strangers  and  it  is  my  duty 
to  my  congregation  to  find  out  who  is  in  their 
midst.  No  less  than  three  of  the  lady  trustees  of 
my  church  have  asked  me  who  and  what  these  peo 
ple  are  and  whence  come  they. 

JANE.  The  lady  trustees  are  a  pack  of  inquisi 
tive  old  women. 

PONTIFEX.  (Crosses  to  table)  Jane,  do  you 
know  that  you  are  nearly  uttering  a  blasphemy? 

JANE.    One  of  these  days  I  shall  quite  do  so. 

PONTIFEX.  These  Rossmore  people  have  been 
here  six  weeks.  They  have  visited  no  one ;  no  one 
visits  them.  They  have  avoided  a  temple  of  wor 
ship  ;  they  have  acted  most  mysteriously.  Who  are 
they?  What  are  they  hiding?  Is  it  fair  to  my 


THE  LION  AND  THE  MOUSE.  7 

flock?  (Looking  closely  at  back  of  photos  for 
signatures)  I  am  afraid  that  it  may  be  some  buried 
scandal. 

JANE.    Then  why  dig  it  up. 

PONTIFEX.  Do  I  owe  my  innocent  flock  nothing? 
If  there  is  a  scandal  we  should  be  acquainted  with 
the  details. 

JANE.    I  hope  they  will  turn  us  out. 

(EUDOXIA  enters  with  MRS.  ROSSMORE  and  exits.) 

MRS.  ROSSMORE.  Mr.  Deetle — Miss  Deetle — I 
am  much  honored. 

PONTIFEX.    The  honor  is  ours — Jane  and  I  called 

MRS.  ROSSMORE.    Won't  you  sit  down? 

POINTIFEX.  Thank  you.  (ALL  sit)  Mrs.  Ross- 
more,  the  fact  is  we  are  thinking  of  giving  a 
festival  next  week,  a  festival  with  strawberries. 

MRS.  ROSSMORE.  Strawberries — at  this  time  of 
the  year. 

JANE.    Canned. 

PONTIFEX.  (Pause  and  then  awkwardly)  Do 
you  like  strawberries? 

MRS.  ROSSMORE.  It  is  very  kind  of  you.  Indeed 
I  appreciate  your  kindness  most  keenly,  but  my 
husband  and  I  go  nowhere,  nowhere,  at  all.  You 
see  we  have  met  reverses.  (Pause — sighs) 

PONTIFEX.  Reverses — dear  me — you've  met 
with  reverses.  (Pause}  When  material  reverses 
come  we  naturally  look  for  spiritual  consolation, 
and  my  dear  Mrs.  Rossmore,  in  the  name  of 
the  Uniformed  All  Souls  Baptismal  Presbytery — 
(Rise)  I  offer  that  consolation. 

JANE.  (To  PONTIFEX)  My  dear  Pontifex,  you 
have  already  offered  a  strawberry  festival  which 
Mrs.  Rossmore  has  been  unable  to  accept. 

PONTIFEX.  (Glaring  at  his  sister)  Yes.  Quite 
so.  ( EUDOXIA  enters  from  L.  up  hallway  to  answer 


8  THE  LION  AND  THE  MOUSE. 

bell)    Come,  Jane.    (ALL  rise)    We  must  be  going, 
you  will  pardon  our  hurrying  away. 

(Enter  Miss  NESBITT,  a  garrulous  young  woman 
dressed  in  the  height  of  the  village  fashion.) 

Miss  NESBITT.  My  compliments  and — (Busi 
ness  -with  two  cards — one  large  and  one  small)  I'd 
just  like  to  leave  cards  for  Mr.  and  Mrs.  Rossmore 
— that's  Papa's  card.  (Hands  EUDOXIA  a  large 
business  card)  And  that's  mine.  My  papa  is  John 
Nesbitt  the  banker  and 

EUDOXIA.  Yes,  Miss,  I  know  John  Nesbitt  the 
banker. 

Miss  NESBITT.  Why,  how  do  you  do,  Dr. 
Deetles  and  Mrs.  Deetle — and  oh,  this  is  an  unex 
pected  pleasure,  Mrs.  Rossmore,  how  do  you  do.  I 
just  called  to  leave  cards.  My  father  is  John  Nes 
bitt  the  President  of  the  Massapequa  First  Na 
tional  Bank,  and  I  just  thought  that  we,  being 
sorter  society  leaders  here,  it  was  a  social  duty  to 
leave  cards.  (  EUDOXIA  gives  cards  and  exits  L.) 
That  one  of  Pa's  is  his  business  card.  He'll  be 
delighted  to  see  you  at  the  bank  or  at  our  home ;  it 
is  over  the  bank. 

MRS.  ROSSMORE.  Most  charmed  to  make  your 
acquaintance,  Miss  Nesbitt. 

Miss  NESBITT.  Well,  you  must  be  lonely  here, 
week  after  week  seeing  no  one. 

MRS.  ROSSMORE.  You  are  all  too  kind.  Won't 
you  sit  down? 

Miss  NESBITT.  Thanks.  (Bus.  of  two  ladies 
trying  to  sit  in  the  same  chair)  It's  kinder  nice  to 
meet  the  Doctor  here  and  you,  Miss  Deetle.  It 
sorter  helps  to  break  the  ice,  so  to  speak. 

JANE.  (Aside  to  Miss  NESBITT)  And  you  will 
find  plenty  here  to  break. 

PONTIFEX.    I  am  afraid  we  must  be  going. 


THE  LION  AND  THE  MOUSE.  9 

Miss  NESBITT.  We  all  hope  to  see  you  at  our 
raspberry  festival. 

JANE.    Strawberry,  my  dear. 

Miss  NESBITT.  Oh,  yes,  strawberry.  (Bell. 
MRS.  ROSSMORE  rings  bell)  Here's  tickets  for  two. 
(Hunts  in  bag)  I'll  just  leave  the  tickets  in  case — 
(Bus.  searches  in  reticule)  Why,  I  declare  I'm 
sold  out.  (Laughs)  I'll  come  over  with  them 
later.  (Bus.  writes  in  a  little  book)  You'll  be  sure 
to  come. 

MRS.  ROSSMORE.  (Helplessly)  I — I  shall  try 
— (Hall  door  bangs.  Enter  into  hallway  JAMES 
ROSSMORE)  Here  is  Judge  Rossmore  now.  (ALL 
rise.  JUDGE  ROSSMORE  is  a  man  who  is  prematurely 
old,  a  careworn,  tired  out,  pathetic  figure,  he  acts 
as  if  dazed  in  a  dream.  He  looks  sadly  at  the 
visitors  and  then  at  his  wife  for  explanation) 
James,  dear,  this  is  the  Rev.  Doctor  Deetle. 

PONTIFEX.    How  do  you  do? 

MRS.  ROSSMORE.  And  his  sister,  Miss  Deetle. 
This  young  lady  is  Miss 

Miss  NESBITT.  I'm  Miss  Nesbitt — my  father  is 
John  Nesbitt, — the  banker — I  called  to  leave  cards. 
(Produces  card  which  she  thrusts  in  ROSSMORE'S 
hand)  That's  Pa's  business  card,  but  it's  all  the 
same.  He  has  no  private  card.  He  says  he  is  a 
a  public  man  and  don't  need  private  cards. 

ROSSMORE.  I  am  very  pleased  to — to  meet  you 
all.  (Crosses  to  fireplace) 

PONTIFEX.  I  am  afraid  we  really  must  be  going. 
Good-bye,  Mrs.  Rossmore.  (Crosses  to  c.)  De 
lighted  to  have  had  this  little  visit.  (Up  to  door 

R.  C.) 

JANE.  (Up  to  MRS.  ROSSMORE  c.)  Mrs.  Ross- 
more.  I  desire  to  offer  my  sincere  apology  for  in 
truding  on  your  privacy.  (Bow  and  exit  R.  fol 
lowed  by  PONTIFEX) 

Miss  NESBITT.  (Up  to  MRS.  ROSSMCRE  c.) 
You'll  come  over  and  see  Pa,  won't  you.  We  live 


io         THE  LION  AND  THE  MOUSE. 

over  the  bank.  Pa  owns  the  First  National  Bank, 
you  know.  I'll  be  back  with  two  tickets  later. 
Good-bye. 

(Exits  through  hall  into  street.     EUDOXIA  bangs 
the  door  after  them.) 

EUDOXIA.  (As  she  exits)  Comin'  and  goin', 
comin'  and  goin'  all  day  long.  (Exit  L.) 

(ROSSMORE  L.  gases  sadly  into  fire.     MRS.  ROSS- 
MORE  crosses  to  him.) 

MRS.  ROSSMORE.    Has  anything  happened? 

ROSSMORE.  Yes,  my  dear.  The  steamer  was 
sighted  early  this  morning — Shirley  has  arrived. 

MRS.  ROSSMORE.  Shirley  has  arrived?  Did  you 
hear  from  Judge  Stott? 

ROSSMORE.  Yes.  He  met  her  at  the  pier  and 
they  are  on  their  way  here. 

MRS.  ROSSMORE.  I  half  wish  we'd  gone  to  meet 
her  ourselves.  (Crosses  to  R.  of  table) 

ROSSMORE.  I  ought  to  have  gone — (Rises  and 
conies  down)  It  was  my  place  Martha,  but  I  was 
afraid ;  afraid  to  look  my  own  daughter  in  the  face. 
Shirley  in  this  place — Shirley  living  from  hand  to 
mouth — (Meets  MRS.  ROSSMORE  in  front  of  table) 

MRS.  ROSSMORE.  I  wish  we  hadn't  -allowed  her 
to  go  rushing  all  over  Europe.  She'd  been  here 
when  it  happened ;  she'd  know  now.  She'll  be  here 
for  dinner — I  must  tell  Eudoxia — (Ready  the  car 
riage  wheels  off.  MRS.  ROSSMORE  pulls  bell  cord) 

ROSSMORE.  Quite  a  come  down  from  Madison 
Avenue,  isn't  it? 

EUDOXIA.     (Enter  L.)     Did  you  ring,  ma'am? 

MRS.  ROSSMORE.  Yes,  Eudoxia,  my  daughter 
will  be  here  for  dinner. 

EUDOXIA.  Your  daughter.  Nothing  was  said 
about  a  daughter.  That  makes  three  in  family, 


THE  LION  AND  THE  MOUSE.          n 

ma'am.  When  you  engaged  me  you  said  there 
would  be  only  two. 

ROSSMORE.  Well,  with  your  kind  permission 
there  will  be  three. 

EUDOXIA.  Very  well,  ma'am  one  extra — nothin' 
was  said  to  me  about  extra  daughter.  (Exit  L.) 

ROSSMORE.  (After  EUDOXIA'S  exit)  Ah,  my 
dear,  this  nation  doesn't  breed  servants,  at  least 
not  good  ones. 

MRS.  ROSSMORE.  Well,  my  dear,  she's  the  best  I 
could  get.  (Rises  and  crosses  to  him) 

ROSSMORE.  I  don't  think  she  and  Shirley  are 
going  to  harmonize.  (Remains  at  fireplace.  Bus. 
the  noise  of  a  carriage  driving  up  to  house.  They 
stand  and  listen  and  look  at  each  other  as  if  afraid) 

MRS.  ROSSMORE.     It's  Shirley. 

ROSSMORE.  I  wish  it  were  over.  I  wish  she 
knew. 

MRS.  ROSSMORE.  Shall  I  go,  or  would  you  like 
to.  (Go  to  ROSSMORE'S  L.  Bus.  EUDOXIA  goes 
to  door) 

ROSSMORE..  It  seems  as  if  the  real  blow  is 
about  to  fall.  Stott  might  have  phoned  up. 

STOTT.  (Through  open  door  to  someone  off 
stage)  Drive  back  for  the  others. 

EUDOXIA.    Others!     (Carriage) 

MRS.  ROSSMORE.    The  Judge. 

ROSSMORE.    Alone  ? 

MRS.    ROSSMORE.      I    don't    hear    her    voice. 

(EUDOXIA  at  door.) 

STOTT.  (Enters  R.  gives  bag  to  EUDOXIA)  It's 
all  right.  (Comes  c.)  Ah,  there  you  are,  by 
George,  I've  had  some  difficulty  in  rinding  you. 
(Bus.  shakes  hands  with  ROSSMORE.  EUDOXIA 
takes  bundles  upstairs) 

ROSSMORE.  My  dear  Stott,  how  are  you? 
Where — where  is  she? 


12         THE  LION  AND  THE  MOUSE. 

STOTT.  At  the  depot  waiting  for  the  hack  to 
drive  back  for  her.  It's  the  only  one.  I  came 
ahead  to  prepare  you.  By  Jupiter,  this  is  a  one 
horse  town  and  no  mistake.  Why  did  you  pick  out 
such  a  hole? 

ROSSMORE.     No  one  knows  me  here — and 

STOTT.    Well,  perhaps  you're  right 

ROSSMORE.    How  did  she  take  it? 

MRS.   ROSSMORE.     Does   she    feel   very   badly? 

(STOTT  scratches  his  chin.) 

ROSSMORE.    Come,  speak  out,  we  can  stand  it. 

MRS.  ROSSMORE.  Is  she — she — very  upset? 
(Pause,  still  very  uncomfortable) 

STOTT.     The  fact  is  she  doesn't  know. 

MRS.  ROSSMORE.     She  doesn't  know. 

ROSSMORE.  And  you've  brought  her  all  the  way 
down  here  without  telling  her  what  has  happened. 
Oh,  Stott! 

STOTT.     I  couldn't — I  just  simply  couldn't. 

ROSSMORE.  And  you  expect  me  to — (Sits  R.  on 
sofa) 

STOTT.  I  couldn't  tell  that  girl  returning  from  a 
beautiful  time  in  Europe  and  the  Orient,  that  her 
father  was  penniless,  and 

ROSSMORE.    And  disgraced — go  on  and  say  it. 

STOTT.  You  know  the  girl  loves  you,  Judge ;  she 
would  have  gone  into  hysterics.  (EuooxiA  opens 
the  door)  I  really  hadn't  the  heart  to  tell  her. 

ROSSMORE.    But,  Stott,  you  promised. 

EXPRESSMAN.  (Outside)  Whoa!  Whoa! 
(Enter  EXPRESSMAN)  Where  does  this  baggage 
go? 

EUDOXIA.    All  on  'em? 

EXPRESSMAN.    All  on'  em. 

EUDOXIA.  Ain't  you  in  the  wrong  cottage? 

EXPRESSMAN.  No,  I  ain't.  This  is  the  Ross- 
more's  cottage — Cooper  Cottage  that  was? 


THE  LION  AND  THE  MOUSE.         13 

EUDOXIA.    Yes,  well 

EXPRESSMAN.     Then  it's  O.  K. 

STOTT.  It's  all  right.  Get  them  in  here  and  out 
of  the  way  as  soon  as  you  can. 

(Exit  EXPRESSMAN.) 

EUDOXIA.  Nothing  was  said  to  me  about  bag 
gage — two  in  the  family — more  like  twenty-two. 
(Exit  L.) 

(EXPRESSMAN  brings  on  trunks.) 

STOTT.  I've  got  some  papers  for  you  to  sign, 
Judge.  Your  personal  creditors  have  accepted  the 
seventy  cents  on  the  dollar,  but  that  includes  the 
sale  of  furniture,  pictures  and  all  of  Mrs.  Ross- 
more's  jewelry — now  this  inventory. 

ROSSMORE.  Not  now ;  not  now.  I've  no  head 
for  figures  now — wait  till  she  knows — wait — 
(Crosses  R.) 

STOTT.    Brace  up  old  man,  it's  nothing. 

ROSSMORE.  Nothing.  Then  why  didn't  you  tell 
her? 

STOTT.  (Wagon)  I  mean  it's  nothing  when  the 
shock  is  over.  Take  a  good  plunge,  the  icy  waters 
close  over  your  head,  you  shiver  a  little,  then  strike 
out  for  the  shore,  and  you're  all  right. 

EXPRESSMAN.      (Shouts    aside)      Whoa — whoa 

STOTT.    There  she  is 

ROSSMORE.  My  heart  is  just  like  lead.  (Crosses 
to  piano) 

(Enter  to  SHIRLEY,  door  in  halhvay.  She  is 
dressed  in  a  beautiful  travelling  costume  in 
striking  contrast  to  simplicity  of  surround 
ings.) 


14         THE  LION  AND  THE  MOUSE. 

MRS.  ROSSMORE.     Shirley 

SHIRLEY.  Mama!  Oh,  Mama,  dear  old  Mama! 
(SHIRLEY  kisses  her  mother}  I  am  so  glad,  I  tell 
you  six  months  in  Europe  has  made  me  so  home 
sick — I  father — I've  been  longing  to  see  you. 
{Looks  at  him,  the  expression  of  her  face  has 
grown  serious)  Why,  how  you  have  changed.  I 
can  scarcely  believe  it's  you — say  something — let  me 
hear  the  sound  of  your  voice,  father ! 

ROSSMORE.     (Tries  to  smile)     Why,  dear — I — I 

SHIRLEY.    Ah,  it's  you — it's  you.     (Hugs  him) 

ROSSMORE.  Of  course  it  is — my  dear  child — of 
course  it  is. 

SHIRLEY.  Yes,  but  it  isn't  the  same.  There's 
no  ring  in  your  voice.  It  sounds  hollow  and  empty. 
It  sounds  like  an  echo.  (Bus.)  And  this  place — 
this  awful  place — (Looks  around)  I  don't  under 
stand — I — this  isn't  where  we  live,  is  it?  (Looks 
at  them,  they  all  avoid  her  gaze.  ROSSMORE  nods 
affirmatively)  In  this  little  bit  of  a  place? 

JUDGE.  (Affirmatively)  In  this  little  bit  of  a 
place.  (Sits  on  trunk  c.) 

MRS.  ROSSMORE.  (Looks  around  sorrowfully) 
It  is  a  little  bit  of  a  place,  isn't  it  ? 

ROSSMORE.    It's  the  best  we  can  afford. 

SHIRLEY.  It's  the  best  we  can  afford?  (Stares 
at  her  parents) 

MRS.  ROSSMORE.  Shirley — your  father — has — 
lost  everything.  (Sits  R.  of  table) 

ROSSMORE.  I'll  tell  her  myself  Martha.  I'll  tell 
her  myself.  You're  quite  right,  Stott.  If  she's  to 
hear  it  from  anyone,  let  her  hear  it  from  me.  You 
remember,  my  dear  that  my  capacity  as  Judge  of 
the  Supreme  Court,  I  rendered  decisions,  several  of 
which  were  adverse  to  the  corporate  interest  of  a 
number  of  rich  men.  Well,  since  that  time,  they've 
used  all  of  their  'power  and  influence  to  get  me  out 


THE  LION  AND  THE  MOUSE.          15 

— off  the  bench — and  they  have  so  manipulated 
events  that  to-day  I  stand  falsely  accused  of  having 
accepted  bribes.  (Sits  in  arm-chair) 

STOTT.  You  can  never  convince  me  that  this 
whole  scheme  was  not  a  conspiracy  formulated  by 
ready  Money  Ryder,  the  railroads  and  the  Trust 
Companies.  Ryder  was  the  man  who  had  most  to 
lose  by  your  honesty  on  the  Bench.  Ryder  was  the 
man  you  hit  the  hardest  when  you  enjoined 
his  Transcontinental  Railroad  from  appropriating 
thousands  of  acres  of  land. 

SHIRLEY.  And  you  think  Mr.  Ryder  is  responsi 
ble  for  these  disgraceful  accusations  against  father  ? 

STOTT.    I'm  sure  of  it. 

SHIRLEY.  Father — I — I  am  interested  in  this 
man.  (Rises,  down  to  R.)  I — I  know  his  son  very 
well;  why  are  you  sure  that  he — (Over  to  R.) 

ROSSMORE.  I  knew  him  years  ago,  Shirley  and 
on  account  of  this  old  acquaintance,  I  wrote  him 
two  letters  asking  him  if  the  concern  I  was  invest 
ing  my  fortune  in  was  a  safe  one.  If  he  had  pro 
duced  these  letters  at  the  Congressional  inquiry,  it 
would  have  materially  helped  me,  but  he  never 
even  answered  our  request  to  produce  them. 

SHIRLEY.     Couldn't  you  compel  him? 

STOTT.  We  could  never  get  to  him.  The  man  is 
guarded  as  if  he  were  an  Emperor. 

SHIRLEY.  But  still  he — he  may  not  have  re 
ceived  the  letters. 

STOTT.  After  the  Transcontinental  R.  R.  deci 
sion  Ryder  was  heard  to  say  that  he'd  have  Judge 
Rossmore  off  the  bench  inside  a  year. 

ROSSMORE.  And  he  has  done  it.  That  is,  he  will 
do  it. 

SHIRLEY.  Father,  does  this  mean  that  you  have 
lost  your  position,  your  fortune,  and  your — your 
good  name? 

ROSSMORE.    Yes. 


16         THE  LION  AND  THE  MOUSE. 

(Pause.    ALL  look  at  SHIRLEY.    She  is  struggling 
to  keep  back  her  tears.    The  effort  is  obvious.) 

MRS.  ROSSMORE.  (Rising)  And  we  have  to  live 
in  this  little  bit  of  a  place. 

SHIRLEY.  (Laughs  a  little.  With  considerable 
effort)  Don't  you  call  this  a  little  bit  of  a  place. 
(Takes  her  hat  off)  I  think  it's  just  the  dearest 
little  jewel  of  a  home  you  could  have  selected. 
(Crosses  to  c.) 

MRS.  ROSSMORE.  (Who  has  been  crying  now 
brightens  up)  Do  you  think  so? 

ROSSMORE.    It's  not  so  bad,  eh  ?    (Rises) 

SHIRLEY.  Oh,  it's  just  what  we  wanted;  the 
very  thing.  We  always  wanted  a  little  place  like 
this  all  by  ourselves,  no  strangers.  (Takes  off 
coat  and  things  and  puts  them  on  table)  It's  just 
splendid.  (Pretending  to  be  delighted  but  there  is 
a  tear  back  of  it)  Oh,  if  you  only  knew  how  I 
dislike  New  York,  with  its  great  ugly  houses  and 
its  retinue  of  servants  and  domestic  and  social  re 
sponsibilities.  We  shall  be  able  to  live  for  our 
selves  now,  father  ? 

ROSSMORE.  Why,  yes,  dear,  but  there's  not 
much  room.  (Crosses  to  her) 

SHIRLEY.  But  there's  quite  enough.  Let  me 
see,  upstairs  three  rooms,  eh — and  above  that  three 
more. 

MRS.  ROSSMORE.    No,  then  comes  the  roof. 

SHIRLEY.  Of  course,  a  nice  gable  roof,  a  slop 
ing  slanting  roof  that  the  rain  runs  off  beautifully. 
(Crosses  to  c.)  Just  the  thing.  Fine.  You 
thought  of  everything,  didn't  you  mama?  (Forc 
ing  a  laugh)  Oh,  I  can  see  that  this  is  going  to  be 
jolly.  Just  like  camping  out,  and  you  know  how  I 
love  to  camp  out.  (Crosses  to  R.)  Oh,  and  you 
have  a  piano,  too.  (Bus.  strikes  keys,  it  has  a  tin 
pan  effect)  What  a  lovely  tone,  a  little  old  per 
haps,  but  I  like  those  zither  effects,  it's  like  a 


THE  LION  AND  THE  MOUSE.          17 

spinnit,  i6th  Century.  I  can  see  you  and  Mama 
dancing  a  stately  minuet.  Thank  goodness,  if  we 
want  to  dance  we  shan't  have  to  send  out  a  lot  of 
invitations  for  we  don't  know  anybody,  and  what's 
better  still,  no  one  knows  us. 

(Enter  Miss  NESBITT  ivho  comes  to  c.) 

Miss  NESBITT.  Excuse  my  rush,  but  I  promised 
you  these  tickets  for  the  festival,  Mrs.  Rossmore, 
and  I  always  like  to  keep  my  promise.  I've  num 
bered  them  17  and  18,  not  because  there'll  only  be 
seventeen  or  eighteen  there,  but  because  it  is  the 
seventeenth  and  eighteenth  tickets  I've  sold.  No 
wonder  Pa  says  I'm  a  hustler.  (Bus.  hands  MRS. 
ROSSMORE  more  tickets)  One  dollar  for  the  two. 
Perhaps  your  friends  would  like  to  go  too.  I've 
just  two  more  tickets.  (Bus.  in  reticule)  This 
will  make  the  nineteenth  and  twentieth,  and  I  think 
that  twenty  will  about  get  the  fir  :  prize.  (Bus. 
takes  out  large  card)  No,  tHs  ain't  a  ticket. 
That's  one  of  Pa's  business  cards,  shall  we  say  two 
more? 

MRS.  ROSSMORE.  Well,  I — this  is  my  daughter 
Shirley,  this  is  one  of  our  neighbors. 

SHIRLEY.  (Crosses  to  c.)  One  of  our  intimate 
neighbors.  Charmed,  I'm  sure. 

Miss  NESBITT.  Most  pleased  to  know  you. 
(Shakes  hands)  I'm  Arminta  Nesbitt ;  my  father's 
the  banker;  we  live  across  the  street  in  that  brick 
building.  Were  you  playing  when  I  came  in? 
Don't  let  me  disturb  you.  Go  right  on.  This  call 
is  more  business  than  social.  You  must  come  over 
and  see  me.  Will  your  gentleman  friend  take  a 
ticket? 

STOTT.  I'll  take  the  whole  four.  (Takes  them) 
Thank  you.  (Bus.  with  money)  Two  dollars  I 
think  you  said. 


«8         THE  LION  AND  THE  MOUSE. 

Miss  NESBITT.  Yes,  but  these  are  for  Mrs. 
Rossmore. 

STOTT.  I'm  Mrs.  Rossmore's  legal  representa 
tive.  All  business  must  be  transacted  through  me. 

Miss  NESBITT.  Oh,  I  see.  You  are  buying 
these  tickets  for  them. 

STOTT.    Exactly. 

Miss  NESBITT.  Well,  wouldn't  you  like  to  buy 
some  for  yourself. 

STOTT.    And  you  are  the  Banker's  daughter. 

Miss  NESBITT.    I  am. 

STOTT.    Give  me  two  more. 

Miss  NESBITT.  Twenty-two.  The  prize  is  mine 
for  a  foregone  conclusion.  (STOTT  bus.  with 
money)  Thank  you.  This  call  is  more  business 
than  social.  Don't  forget  to  come  and  see  me. 
Good-bye.  (Drops  notebook  c.,  exits  R.) 

(STOTT  exits  after  Miss  NESBITT.) 

SHIRLEY.  I'm  going  to  like  this  little  town. 
(Crosses  to  MRS.  ROSSMORE  and  kisses  her) 

MRS.  ROSSMORE.    Oh !    Shirley ! 

SHIRLEY.  Now,  mother,  we  must  be  brave  like 
Father.  Don't  you  see  how  brave  and  unflinching 
he  is — why,  I  do  believe  he  is  laughing  at  the  whole 
thing.  Of  course  he  is.  It  appeals  to  his  sense  of 
humor.  Father  has  a  sense  of  humor  if  he  is  a 
Judge,  eh?  (Laughs,  crosses  to  him)  Why,  it's 
absurd,  when  you  come  to  think  of  it,  that  any  one 
should  accuse  him  of  being  corrupt  and  having  for 
feited  the  right  to  retain  his  Judicial  honors. 
Father's  going  to  clear  his  name  of  this  preposter 
ous  charge  and  we're  going  to  help  him.  (crosses 
R.  c.)  Oh,  we're  not  helpless  just  because  we  are 
women.  We  are  going  to  work,  mother  and  I,  eh? 
(Bus.  of  grip) 

MRS.  ROSSMORE.    Work? 

SHIRLEY.    Wor> 


THE  LION  AND  THE  MOUSE.          19 

ROSSMORE.      Work,    why — my    dear    child 

SHIRLEY.  (Sits  on  trunk)  Why  not?  Let  me 
tell  you  something.  The  short  stories  I  have  writ 
ten  from  time  to  time,  which  have  been  accepted 
by  the  Universal  Magazine,  have  been  made  into  a 
book,  and  are  most  successful.  And  I've  half 
finished  a  new  novel.  Who  do  you  suppose  I  made 
my  central  character  ?  Oh,  you'd  never  guess,  John 
Burkrtt  Ryder. 

ROSSMORE.    John  Burkett  Ryder. 

SHIRLEY.  Under  another  name.  I  call  him  John 
Broderick. 

ROSSMORE.  But  why  did  you  select  this  man 
Ryder? 

SHIRLEY.  Because  he's  the  most  interesting 
man  in  America  to-day — the  greatest  financial  giant 
the  world  has  ever  known.  I  met  his  son  Jefferson 
in  Paris.  He  spoke  a  great  deal  about  his  father. 
It  was  listening  to  his  talks  about  his  father's  char 
acter,  that  made  me  put  him  into  a  story ;  he's  a 
wonderful  man;  colossus — (Almost  with  a  cry) 
Ah — why  couldn't  it  have  been  some  other  man ; 
anyone  but  his  father.  (Goes  up  stage,  nearly 
breaks  down) 

(Enter  STOTT  R.  3.) 

ROSSMORE.    Why  ? 

MRS.  ROSSMORE.  James.  (Motions  him  to  keep 
quiet.  Bus.  Rises,  goes  to  fireplace.  Aside  to 
SHIRLEY)  Is  Jefferson  Ryder  the  one  you  wrote 
about?  The  one 

(SHIRLEY  nods  sadly.) 
SHIRLEY.    Yes,  mother. 

(This  bus.  must  indicate  SHIRLEY'S  love  for  JEFFER 
SON  RYDER.    MRS.  ROSSMORE  shakes  her  head.) 


20         THE  LION  AND  THE  MOUSE. 

MRS.  ROSSMORE.  Oh,  well  I  must  go  down  and 
see  Eudoxia  about  dinner.  I'm  afraid  she's  for 
gotten — two — extra — oh,  dear.  (Crosses  to  L.  c.) 

SHIRLEY.     Shall  I  come  with  you? 

MRS.  ROSSMORE.  No  thank  you — I  think  I'd  bet 
ter  see  Eudoxia  alone.  (Exits  L.) 

ROSSMORE.  (Crosses  to  R.  c.)  And  I'll  get 
someone  to  take  these  trunks  upstairs.  There 
won't  be  room  for  them  all.  Most  of  them  will 
have  to  go  in  the  cellar.  Tell  your  mother  that  I 
have  gone  on  an  errand  and  I'll  be  back  soon. 
You've  put  new  life  into  me  dear.  New  life. 

SHIRLEY.  (Hiding  her  own  grief)  That's  right, 
father,  that's  right.  (Laughs)  We'll  start  you  on 
a  new  career. 

ROSSMORE.  Aye,  dear,  a  new  career.  (Ross- 
MORE  puts  on  his  hat  and  exits.) 

(As  soon  as  ROSSMORE  is  gone  SHIRLEY  can  hold 
back  her  tears  no  longer,  bursts  into  a  fit  of 
sobbing  from  which  she  recovers.) 

STOTT.  (Sits  R.)  That's  right,  have  a  good 
cry.  Upon  my  soul  I  think  you've  earned  it. 

SHIRLEY.  (On  trunk  c.)  I  couldn't  help  it — I 
— it's  very  weak  of  me.  (Laughs)  Is  my  nose 
red?  Can't  help  it  if  it  is.  Oh,  why  couldn't  it 
have  been  any  other.  Now,  Judge  Stott  I  want 
you  to  tell  me  the  truth,  straight  out  from  the 
shoulder.  Is  my  father  ruined  financially  and 
professionally  ? 

STOTT.  Yes — your  father  in  his  judicial  capacity 
blocked  the  game  of  the  moneyed  interests  of  this 
country,  and  to  remove  him,  they  got  him  to  invest 
his  fortune  in  a  kite,  which  came  down  as  soon  as 
they  cut  the  string. 

SHIRLEY.    Yes — but  the  disgrace. 

STOTT.  Part  of  the  same  scheme.  They  loaded 
him  down  with  more  stock  than  his  contract  en- 


THE  LION  AND  THE  MOUSE.         21 

titled  him  to,  then  accused  him  of  having  taken  it 
in  payment  of  his  services  to  them  in  his  official 
capacity. 

SHIRLEY.  Do  you  mean  to  tell  me  that  those 
men  swore  away  my  father's  honor? 

STOTT.  Oh,  no,  they  were  too  clever  for  that. 
They  refused  to  reply  to  certain  questions  involv 
ing  his  integrity.  They  allowed  it  to  be  inferred 
that  the  shares  he  had  bought  had  been  given  to 
him  as  a  bribe.  The  Congressional  House  Com 
mittee  was  against  him  and  I'm  afraid  the  Senate 
will  be  only  too  ready  to  remove  him ;  all  they  need 
is  an  excuse — (Rises  back  of  chair) 

SHIRLEY.  And  you  believe  Mr.  Ryder  to  be  at 
the  head  of  this  movement  against  him? 

STOTT.    He  had  the  most  to  gain. 

SHIRLEY.  Then  why  don't  you  proceed  against 
him? 

STOTT.  How  can  we?  We  have  no  proof,  sus 
picion  is  not  evidence. 

SHIRLEY.  Poor  old  father,  what  a  miserable 
ending  to  an  honorable  hard  working  career.  It 
seems  as  though  you  can  fight  everything  in  the 
world  except  money.  Well — (Rises  and  crosses 
L.)  I'm  going  to  fight  money — I'm  going  to  fight 
John  Burkett  Ryder 

STOTT.  My  dear  child,  how  can  you  expect  to 
reach  him  ?  We  couldn't. 

SHIRLEY.  I  don't  know — I — I  love  my  father 
and  I'm  going  to  fight  for  him — (Crosses  L.) 

STOTT.    But  how? 

SHIRLEY.     I  don't  know — I  don't  know 

STOTT.  The  matter  has  been  sifted  and  sifted 
over  and  over  by  some  of  the  greatest  men  in  the 
country. 

SHIRLEY.    Has  any  woman  ever  sifted  it  over? 

STOTT.    No — but 

SHIRLEY.    Then  it's  about  time  one  did.    Those 


22         THE  LION  AND  THE  MOUSE. 

letters  my  father  wrote  to  him — they  should  be  of 
service. 

STOTT.    Yes. 

SHIRLEY.  Then  I'll  get  them  if  they're  in  exist 
ence.  (To  herself)  Oh,  if  it  had  only  been  some 
one  else  but  Jeff's  father — I  don't  know — it  may  be 
that — I  think  I  see  my  way 

STOTT.  And  you  think  you  can  beat  a  thousand 
million  of  dollars — (Crosses  c.) 

SHIRLEY.    I  can  try 

STOTT.    John  Ryder  is  married. 

SHIRLEY.    He  has  a  son 

STOTT.  You  said  you  were  together  a  great  deal 
— I  think  I  see. 

SHIRLEY.  Yes,  I  know  Jefferson  Ryder — I  know 
him  very  well,  so  you  see  there  is  a  possibility,  isn't 
there,  and  you  will  help  me,  won't  you? 

STOTT.    All  I  can. 

SHIRLEY.  Well,  to  begin  with  I  want  to  sell 
some  jewelry  and  some  other  things,  I  shan't  need 
them  now — and  I  want  to  give  the  proceeds  to 
father  without  letting  him  know  where  it  comes 
from,  you  understand? 

STOTT.    Yes,  but 

SHIRLEY.  Now  don't  interrupt,  please — that's 
settled. 

STOTT.  Miss  Shirley,  am  I  your  lawyer,  or  are 
you  mine? 

SHIRLEY.  You're  my  lawyer,  but  you  mustn't 
argue,  because  I  want  my  own  way. 

STOTT.  (throws  up  both  hands)  You've  defined 
my  position  beautifully.  (EUDOXIA  with  her  hair 
badly  dishevelled  crosses  and  opens  door)  All 
right  go — ahead — go  ahead — have  your  own  way. 

JEFFERSON.  (Outside)  Has  Miss  Rossmore 
arrived  ?  Oh,  yes,  there  are  her  trunks.  Is  she  in  ? 

EUDOXIA.    What  name  shall  I  say,  sir  ? 

JEFFERSON.  Please  say  Mr.  Jefferson  Ryder — 
(Business  with  card)  would  like  to  see  her. 


THE  LION  AND  THE  MOUSE.         23 

SHIRLEY.     Eudoxia,  I  can't  see  anyone,  I'm  a 
sight.     (  Takes  things  upstairs  from  table) 
EUDOXIA.    This  way  sir 

(SHIRLEY  tries  to  escape  but  EUDOXIA  ushers  JEF 
FERSON  in  before  SHIRLEY  can  exit.) 

SHIRLEY.  I — I — I — hardly  expected  to  see  you 
so  soon.  Judge  Stott  this  is  Mr.  Jefferson  Ryder. 
Would  you  please  talk  to  each  other  for  a  moment. 
(Hurries  off  stage) 

(When    JEFFERSON    goes    down    stage    EUDOXIA 
exits  L.) 

JEFFERSON.  (Down  to  STOTT)  How  do  you  do 
sir,  I'm  pleased  to  meet  you.  (Holds  out  hand) 

STOTT.  (Bows)  Pleased  to  know  you. 
(Pauses,  then  sees  JEFFERSON'S  outstretched  hand, 
shakes  it  awkwardly) 

JEFFERSON.  (Pause)  Quaint  little  place— these 
Long  Island  Villages 

STOTT.    Yes,  you  just  returned  from  Europe 

JEFFERSON.    Yes 

STOTT.     Did  you  have  a  pleasant  trip? 

JEFFERSON.    Delightful ;  moon  all  the  way  over. 

STOTT.     Oh,  mooning  all  the  way  over,  eh? 

JEFFERSON.  Yes — no — no.  (Pause)  I  was 
not  mooning — just  plain  moon;  I've  just  heard 
about  Judge  Rossmore's  impending  trial.  By 
George  it's — it's  too  bad. 

STOTT.    Yes — it's  too  bad. 

JEFFERSON.  What  a  blow  it  must  have  been  for 
Shirley, 

STOTT.     Shirley 

JEFFERSON.    Miss  Rossmore 

STOTT.    Yes,  quite  a  blow — 

(Enter  SHIRLEY.) 


24         THE  LION  AND  THE  MOUSE. 

SHIRLEY.    Won't  you  sit  down,  Mr.  Ryder. 
(To  JEFFERSON)     I  thought  you  said  good-bye  to 
me  this  morning. 

(STOTT  crosses  to  R.  back  of  table  and  sits.) 

JEFFERSON.  So  I  did,  but  I  came  to  say  it  again. 
The  fact  is,  I  wrote  my  mother  about  you  and  she 
has  shown  the  letter  to  my  father  and  he — he — has 
wired  me  to  come  to  Chicago  to-night — His  private 
car  is  waiting  for  mey  but  I — I  can't  go  until  I've 
seen  you.  Something  has  happened  and  I  want  to 
explain  just  how  it  is.  May  I  ? 

SHIRLEY.    (Both  sit}    Why  of  course — sit  down. 

JEFFERSON.    May  i  see  you  alone? 

( STOTT  rises.} 

SHIRLEY.    Judge  Stott;  is  my    legal  represetative 
(STOTT  sits.) 

JEFFERSON.    Well,  this  is  not  a  matter  of  law < 

SHIRLEY.  (Laughing)  Not  now  perhaps,  but 
it  may  be  later  on;  we're  both  bound  to  disagree 
about  something;  it's  always  a  good  thing  to  have 

a  lawyer  present  who  can  settle  disputes 

JEFFERSON.  We  didn't  disagree  on  the  steamer 
and  we  didn't  have  a  lawyer. 

SHIRLEY.  No — we  didn't.  (Slight  pause) 
STOTT.  (Laughs)  I  thrn1-  I'll  wait  till  my  ser 
vices  are  really  needed.  (Rites,  crosses  R.  c.)  If 
you  come  to  any  entanglerr ent  you  can't  unravel, 
send  for  me.  I'll  stroll  out  ana  meet  your  father, 
excuse  me.  (Sees  that  both  JEFFL.RLON  and  SHIR 
LEY  are  engrossed  with  their  own  thoughts.  STOTT 
exits) 

JEFFERSON.  Certainly.  I  felt  that  I  must  see 
you.  I  bad  two  reasons,  both  of  sufficient  im- 


THE  LION  AND  THE  MOUSE.         25 

portance  to  bring  me  here  without  the  formality  of 
an  invitation.  In  the  first  place  I  want  to  express 
my  deepest  sympathy  for  your  recent — I  was  al 
most  going  to  say — bereavement 

SHIRLEY.  Go  on — say  it — you  might  as  well- 
father  is  dead 

JEFFERSON.     (Rises)     Dead — you 

SHIRLEY.  Oh,  his  heart  beats  and  he  can  see  and 
hear  and  speak;  he  can  even  walk  and — (Rises) 
Oh,  he  is  just«a  shadow — an  empty  shell — but — I'd 
rather  not  speak  of  that  just  now — it's  too  recent. 

JEFFERSON.  But  it  is  precisely  now — at  this 
moment.  When  perhaps  all  or  most  of  your  friends 
have  deserted  you  or  are  keeping  away  from  you, 
that  I  feel  I  must  speak.  I  told  you  on  the  boat 
that  I  loved  you,  and  although  you  gave  me  no 
definite  answer  you  led  me  to  believe  that  there  was 
some  hope. 

SHIRLEY.  I  said  nothing  except  it  was  shock 
ingly  sudden — and 

JEFFERSON.  But  you  didn't  say  no — and  you  ac 
cepted  that  ring. 

SHIRLEY.    Only  as  a  souvenir — but  I 

JEFFERSON.  Shirley — if  there  is  any  time  I 
ought  to  speak  to  you  it  is  now  when  misfortune 
has  come  into  your  life.  The  sins  of  the  father 
should  not  embitter  our  lives 

SHIRLEY.    My  father  has  not  sinned. 

JEFFERSON.  I  wish  I  could  say  the  same  of  mine, 
that  brings  me  to  the  second  reason  for  coming 
down  so  soon — (Business  with  newspaper)  The 
report  of  my  engagement  to  Katherine  Roberts  was 
announced  in  yesterday's  papers,  while  we  were 
both  on  the  ocean — I  wanted  to  expain 

SHIRLEY.  I  had  not  read  it.  So  you  are  engaged 
to  Katherine  Roberts.  (Bus.  with  paper)  Is  that 
she?  (She  turns  up  her  nose.  JEFFERSON  sits  c.) 
I  don't  think  much  of  her  picture,  and  you  told 
me  on  the  third  day  out  that  I  was  really  and  truly 


26         THE  LION  AND  THE  MOUSE. 

the  first  and  only — Oh,  I  don't  care  how  young  a 
man  is,  there  never  seems  to  have  been  a  really  and 
truly  first  and  only 

JEFFERSON.  (Sits  on  trunk)  You  are  my  first — 
my  very  first  and  only,  this  engagement  is  one  of 
those  paternal  arrangements.  Kate  doesn't  care  a 
rap  for  me  and  I — why — before  I  was  half  through 
my  college  course  father  told  me  she  was  the  girl 
he  expected  me  to  marry.  He  threw  us  together 
all  the  time.  He  told  everybody  that  it  was  settled. 
That  accounts  for  the  reports  getting  around  that 
we  are  engaged.  Whenever  my  father  wants  any 
thing  to  happen  the  papers  are  full  of  it.  He  in 
spires  editorials  and  magazine  articles,  declaring 
things  ought  to  be  so,  and  then  somehow  or  other 
the  things  happen,  but  this  is  the  one  thing  that 
won't  happen.  (Rises  and  goes  to  her)  I  love  you 
Shirley,  and  you  are  the  only  girl  I'll  ever  marry. 

SHIRLEY.  (Thinking  deeply  of  her  object) 
And  I  should  meet  the  great  financial  king,  John 
Burkett  Ryder— 

(Enter  ROSSMORE.) 

JEFFERSON.  Ah,  you  mean  your  answer  is — yes 
— Shirley.  (Takes  her  hand) 

SHIRLEY.  (Rises)  I — I — don't  know  Jeff — I — 
(Sees  her  father)  No — no — I  can't — oh,  Jeff,  you 
don't  know  what  I  have  to  do.  (Down  L.) 

ROSSMORE.  (Bus.  leans  against  trunk)  So  little 
tires  me  now,  I  couldn't  get  any  one.  The  trunks 
will  have  to  stay  down  here.  Perhaps  I  can  get 
them  up  myself. 

SHIRLEY.  No — no — you  must  not — Father,  this 
is  Mr.  Jefferson  Ryder 

ROSSMORE.    Ryder?    The  son  of ? 

SHIRLEY.     Yes,  father. 

JEFFERSON.  Delighted  to  meet  you  sir,  can't  you 
get  anyone  to  move  these  trunks — well  you  just  let 
me  try 


THE  LION  AND  THE  MOUSE.         27 

SHIRLEY.    Certainly  not. 

JEFFERSON.    Oh,  yes,  I  love  to  lift  trunks. 

(Enter  EUDOXIA  L.) 

ROSSMORE.  (Feebly  crosses  L.)  Shirley — he 
must  go  away — he  cannot  be  permitted  to — to 

JEFFERSON.  (Mistaking  his  meaning)  My  dear 
sir,  I  have  a  gym  record  for  lifting  weights  that 
most  fellows  envy.  (Bus.  of  JEFFERSON  lifting 
trunks)  And  I  can  throw  a  hammer  farther  than 
a  Scotch  policeman — where  does  this  one  go? 

EUDOXIA.     Upstairs !     I'll  show  you. 

JEFFERSON.  Shirley,  if  I  could  only  carry  your 
trunk  on  my  back  for  the  rest  of  my  life,  I'd  be  a 
happy  man. 

EUDOXIA.  Here  young  man,  be  careful  or  you'll 
scratch  the  walls. 

(Bus.   for   JEFFERSON.     He   exits  with   trunk   as 
STOTT,  smoking,  sees  JEFFERSON  with  trunk.) 

STOTT.    Well,  the  game  is  on  I  see. 

ROSSMORE.  My  dear  child,  this  gentleman  is  the 
son — of  the  man — who — who — he — I  don't  under 
stand. 

SHIRLEY.  Neither  do  I,  father — but  you  are 
right.  He  must  go.  (Crosses  to  around  table) 

ROSSMORE.  The  son  of  John  Burkett  Ryder 
carrying  my  daughter's  trunks.  (Crosses  to  fire 
place) 

STOTT.  Very  edifying  isn't  it.  Quite  an  example 
for  rising  young  millionaires.  Miss  Shirley,  I  think 
I  begin  to  see  what  you  meant,  when  you  said  you 
were  going  to  fight  the  Octopus.  (Looks  upstairs) 
Well,  you  got  a  good  start. 

SHIRLEY.  No — (Shakes  her  head)  That's  a 
false  start — I  must  begin  again. 

STOTT.    Eh  ? 


28         THE  LION  AND  THE  MOUSE. 

SHIRLEY.  I'm  going  to  send  him  away.  I  can't 
ruin  his  prospects,  and  I'm  not  going  to  trifle  with 
his — his  love,  I  can't — Judge  Stott — Oh,  there  must 
be  other  means  of  reaching  his  father  than  through 
him.  I'll  find  them.  (Enter  JEFFERSON  down 
stairs,  he  begins  to  lift  another  trunk.  To  STOTT) 
Go  away  for  a  while  and  take  father  with  you. 
(Crosses  to  R.) 

STOTT.    Don't  let  him  go — a  bird  in  the  hand 

SHIRLEY.    Am  I  your  client? 

STOTT.    Am  I  your  lawyer? 

SHIRLEY.  Yes,  but  do  as  I  tell  you.  Mr.  Ryder, 
please  put  that  down. 

(JEFFERSON  lowers  trunk,  then  balances  it  again.) 

STOTT.  (Crosses  to  L.)  Judge,  I  want  to  go 
over  these  papers  with  you. 

ROSSMORE.  I  don't  understand.  (Points  to 
SHIRLEY) 

STOTT.  Neither  do  I.  I'm  her  lawyer  and  my 
instructions  are  to  mind  my  own  business.  (Bus. 
takes  ROSSMORE  off  D.  R.  2) 

SHIRLEY.  Mr.  Ryder — Jefferson,  I  want  you  to 
put  that  trunk  down  and  listen  to  me.  (JEFFERSON 
c.  Bus.  drops  trunk,  comes  dozvn  R.  c.)  You  must 
go  away  from  here,  Jefferson,  I  refuse  to  separate 
you  from  your  father  and  mother.  Ah,  it  would  be 
the  acme  of  selfishness  on  my  part,  we  have  known 
each  other  such  a  short  time.  Another  thing  my 
father  came  here  to  get  away  from  the  world ;  and 
you — you  are  adding  to  his  unhappiness. 

JEFFERSON.  Shirley,  you  don't  mean  that  I  must 
not  come  here  again. 

SHIRLEY.  I  do.  My  father  believes  that  your 
father  is  in  some  way  connected  with  his  mis 
fortunes. 

JEFFERSON.     My    father.     Great   heavens    isn't 


THE  LION  AND  THE  MOUSE.         29 

there  anything  in  this  world  that  his  fingers  are  not 
in 

SHIRLEY.    You  must  go  for  my  sake. 

JEFFERSON.  Ah,  if  you  only  knew  how  happy  I 
was  carrying  that  trunk. 

SHIRLEY.    Please  go. 

JEFFERSON.  I  knew  the  announcement  of  my 
engagement  would  offend  you.  (Down  R.  c.) 

SHIRLEY.  Yes,  that's  it.  Your  engagement  has 
offended  me  very  much.  Her  name  linked  with 
yours — her  picture  and  yours — it's,  it's 

JEFFERSON.     (Back  c.)     But  it  isn't  true. 

SHIRLEY.  Mr.  Ryder,  don't  let  us  prolong  this 
interview.  My  father  is  a  disgraced  man,  your 
father  has  other  plans. 

JEFFERSON.    But  I  love  you,  Shirley. 

SHIRLEY.     You  are  engaged  to  another  woman. 

JEFFERSON.  Then  I'll  break  it  off.  I'll  go  and 
tell  my  father  that  I'll  marry  no  woman  but  you. 
(Crosses  up  R.) 

SHIRLEY.  It's  no  use.  You  must  not  come  back 
here,  you  understand.  We  must  be  alone,  father 
and  I.  Good-bye. 

JEFFERSON.    But  Shirley — (Back  to  her) 

SHIRLEY.  It's  quite  useless.  You — you  have 
dared  to  make  love  to  me  while  your  name  is  linked 
to  that  of  another  woman.  Oh,  any  excuse  will  do, 
but  you  must  go. 

JEFFERSON.  But  Shirley  this  is  not  fair — why, 
this  is  not  fair. 

SHIRLEY.  It  is  for  the  best  believe  me.  Good 
bye. 

JEFFERSON.    And  this  is  really  final? 

SHIRLEY.     Absolutely. 

JEFFERSON.      (Draws  a  heavy  breath)     Good- 

( SHIRLEY  holds  out  her  hand.) 


30         THE  LION  AND  THE  MOUSE. 

SHIRLEY.  Good-bye,  Mr.  Ryder — (Shakes  his 
hand  and  turns  away,  JEFFERSON  looks  at  her  lov 
ingly  and  exits  hastily) 

CURTAIN. 


ACT  II. 

SCENE: — Inner  private  library  in  the  RYDER  Man 
sion  on  Fifth  Avenue. 

AT  RISE: — As  curtain  rises,  the  HON.  FITZROY 
BAGLEY,  a  youthful  gentleman  of  middle  age  is 
giving  instructions  to  JORKINS,  a  pompous 
butler.  SENATOR  ROBERTS,  is  reading  a  paper, 
sitting  in  armchair  R.  of  fireplace,  and  KATE 
ROBERTS  is  looking  at  book-shelves  L.  c. 

BAGLEY.  (Seated  at  table)  Mr.  Ryder  will 
occupy  this  room  on  his  return. 

JORKINS.     Yes,  sir 

BAGLEY.  (Rises  and  moves  down-stage)  Station 
another  man  on  the  lower  staircase  Jorkins — yester 
day  it  was  left  unguarded.  Put  the  new  man  on  the 
upper  staircase. 

JORKINS.    Yes,  sir.     (Exits  c.) 

BAGLEY.  We  must  be  careful.  (Unlocking  a 
cabinet  and  taking  from  it  a  box  of  very  large  cigars 
—-examining  them — crosses  to  SENATOR  ROBERTS 
E.  C.)  Socialism  is  growing  in  this  country — Do 
you  know  Senator,  that  last  week  a  man  dared  to 
address  Mr.  Ryder  as  he  was  getting  out  of  his 
carriage.  (Handing  him  box  of  cigars) 

SENATOR.  Ah — the  famous  Grandiosa — Thank 
you  Bagley — I  will — ah — (Has  taken  cigar  and  ex 
amines  it)  What  did  you  say  about  socialism? 

BAGLEY.     Yesterday  an  attempt  was  made  to 


THE  LION  AND  THE  MOUSE.         31 

snapshot  Mr.  Ryder.  (Crosses  back  stage  to  R.  c. 
And  then  down  to  bookcase) 

KATE.    Snapshot  Mr.  Ryder? 

BAGLEY.  Yes — with  a  Kodak — (Crosses  to  buffet 
and  puts  cigar  back)  and  owing  to  the  disgraceful 
inefficiency  of  the  Police,  the  men  got  away  with 
the  negative.  Had  that  occurred  in  any  of  the 
Capitals  of  Europe  the  man  would  have  been  rep 
rimanded,  and  his  camera  taken  away  from  him. 
In  Russia  he  might  have  been  shot.  (Goes  to  chair 
with  paper) 

(KATE  moves  down  R.) 

SENATOR.  In  Patagonia  he  would  probably  have 
been  roasted — and  eaten  but  this  is  a  civilized  and 
free  country,  Bagley. 

BAGLEY.  Free — but  not  necessarily  civilized. 
Senator — (Business  with  list)  You  are  sure  your 
appointment  with  Mr.  Ryder  was  at  4 :  30.  I  have 
no  record  of  it. 

SENATOR.  Then  make  one,  Bagley,  I  must  see 
him.  (Rises,  stretches  himself)  In  the  meantime 
I'll  go  and  roll  the  billiard  balls.  I  need  exercise — 
(BAGLEY  sits.  SENATOR  throws  down  paper.  Rises, 
crosses  to  L.)  Oh,  Bagley,  I  want  you  to  do  me  a 
little  favor.  Judge  Morris  wants  to  see  Mr.  Ryder 
privately — Tell  him  to  try  downtown. 

BAGLEY.  It's  impossible  Senator — he  has  so 
many  appointments — everybody  wants  to  see  him 
privately 

SENATOR.  He  might  as  well  try  to  see  the 
Empress  of  China.  (Up  c.)  Will  you  come  to  the 
billiard  room  Kate  and  watch  your  father  roll  up 
a  hundred  or  so? 

KATE.  No  thanks,  it  took  you  an  hour  to  roll  up 
ten  or  so  yesterday. 

SENATOR.    Oh,  indeed.    (Exits  c.) 


32         THE  LION  AND  THE  MOUSE. 

(As  soon  as  SENATOR  ROBERTS  exits,  KATE  turns 
to  BAGLEY,  takes  letter  out  of  her  pocket.) 

KATE.  Mr.  Bagley — (Crosses  L.)  I  must  beg 
you — to  refrain  from  sending  me  any  more  notes 
like  this. 

BAGLEY.     (Rises)    Why  not? 

KATE.  Because  of  my  engagement  to  Jefferson 
Ryder.  (Goes  to  bookcase,  takes  out  various  books 
under  the  pretext  of  looking  for  one  in  particular. 
This  so  as  to  give  her  an  excuse  for  remaining) 

BAGLEY.  (Comes  around  c.)  Your  engagement 
to  Mr.  Jefferson  Ryder  is,  judging  from  appearance 
a  most  uncertain  fact.  (Crosses  to  R.) 

KATE.  You  must  not  judge  from  appearance, 
beneath  an  exterior  of  cold  indifference  Jeff  and  I 
may  hide  a  passion  that  burns  like  a — Oh,  like  a 
volcano — you  can't  tell.  (Sits  on  armchair) 

BAGLEY.  Can't  it — (Moves  to  R.  c.  to  KATE) 
Why  did  you  remain  in  here  when  your  father  went 
out? 

KATE.  To  tell  you,  that  I  cannot  listen  to  you. 
(To  bookcase,  takes  out  book) 

BAGLEY.  But  you  are  listening  to  me,  Kate— 
your  coldness  is  not  convincing.  Don't  you  know. 
(Moves  up-stag  e) 

KATE.  You  mean  you  think  I  want  to  listen  to 
you? 

BAGLEY.     I  do. 

KATE.     Mr.  Bagley! 

BAGLEY.  (Crosses  to  bookcase)  A  week  ago 
you  called  me  Fitzroy — once  in  an  outburst  of  con 
fidence  you  called  me  Fitz. 

KATE.  You  hadn't  asked  me  to  be  your  wife 
then — (Stoops  in  front  of  bookcase.  Bus.  takes  out 
book — forgets  that  she  has  taken  it  out — takes  out 
another) 

BAGLEY.  (Sighs)  Very — well — Kate.  (Over 
bookcase)  I  suppose  it  must  be  Miss  Roberts-^ 


THE  LION  AND  THE  MOUSE.         33 

Now  that  you  have  declined  becoming  the  Hon. 
Fitzroy  Bagley — (Leans  on  bookcase)  not  honor 
able  as  conferred  on  a  mere  Congressman  or  other 
petty  official,  but  a  prefix  on  me  by  the  law  of 
hereditament  in  recognition  of  the  fact  that  I  am  the 
third  son  of  Lord  Oxhurst 

KATE.  (Rises)  That  has  not  been  overlooked 
Mr.  Bagley — but  what  can  I  do — there's  my  father 
— there's  Mr.  Ryder — there's  Jefferson  himself. 

BAGLEY.  You  need  not  think  of  him — he  doesn't 
love  you.  (Moves  c.,  crosses  to  armchair) 

KATE.    Did  he  tell  you  so?     (Takes  out  book) 

BAGLEY.     No,  but  he  loves  another  woman. 

KATE.  That's  no  reason  why  I  should  love  an 
other  man. 

BAGLEY.  No,  perhaps  not.  Kate,  do  you  realize 
that  you  are  the  most  beautiful  woman  in  the 
world. 

KATE.     (Bus.  tvith  books)     I  do  not 

BAGLEY.    Well,  you  are 

KATE.     I  am  not. 

BAGLEY.  Perhaps  in  reality  you  are  not,  but  I 
think  you  are,  therefore  to  me,  you  are 

KATE.     Oh,  ridiculous 

BAGLEY.  It  is  ridiulous,  but  I  can't  help  it.  You 
haxe  exercised  almost  a  hypnotic  influence  over  me ; 
you  have  so  changed  my  ideas  of  beauty,  of  love,  of 
marriage,  that  I  now  realize  in  you  my  perfect 
ideal. 

KATE.    I  cannot  listen  to  you. 

BAGLEY.  But  you  are  listening  to  me — (Moves  to 
KATE  R.  c.) 

(Enter  JEFFERSON  RYDER  c.) 

JEFFERSON.  I  say  Bagley — (BAGLEY  crosses  to 
desk — KATE  drops  book)  This  house  is  getting 
more  like  a  barracks  every  day — men  all  over  the 
place.  Hello,  Kate. 


34        THE  LION  AND  THE  MOUSE. 

KATE.  How  are  you  Jeff — I — I — (Looks  at 
stack  of  books  on  flcor)  I  was  looking  at  a  book — 

JEFFERSON.  (Looking  at  stack  of  books)  I 
should  say  you  were  looking  at  several.  Hope  I 
didn't  interrupt. 

(BAGLEY  goes   to   chair.     Pause.     They  are  all 
uncomfortable.) 

KATE.     Oh,  no — no;  I  almost  found  it. 

JEFFERSON.  Let  me  help  you — What  was  the 
name  of  the  book? 

KATE.  I— I— Oh,  I  forgot  the  name.  That's 
what  I  was  looking  for — I  could  easily  find  the 
book  if  I  could  find  the  name  of  the  book.  (An 
uncomfortable  pause) 

JEFFERSON.  I  just  saw  your  father  in  the  billiard 
room — (Bus.  BAGLEY  rises,  goes  up)  Don't  go, 
Bagley. 

BAGLEY.     I'm  not  going 

KATE.  No — don't  leave  us  alone  Mr.  Bagley — 
That's  what  you  mean,  isn't  it,  Jefferson? 

JEFFERSON.  Why  no.  I  don't  mind  being  left 
alone.  I  want  to  be  left  alone.  What  I  mean  is  I 
don't  want  to  drive  him  out. 

BAGLEY.  (Back  to  desk)  I  am  not  going  out— 
This  is  your  father's  room — my  place — is  here. 

JEFFERSON.  So  is  mine.  I  want  to  see  him— 
Well,  Kate 

KATE.    Well,  Jeff. 

(BAGLEY  makes  noise  with  inkstand.) 

JEFFERSON.     Don't  go  Bagley 

BAGLEY.    I'm  not  going.     (Sits) 

KATE.  No?  I  am  going — (Crosses  in  front  of 
JEFFERSON  and  up  c.)  I  want  to  see  my  father  play 
billiards.  He  makes  such  beautiful  round  the  table 
shots. 


THE  LION  AND  THE  MOUSE.         35 

JEFFERSON.  Don't  hurry  away  on  my  account, 
Kate. 

KATE.  If  you  can  restrain  your  ardor,  you  can 
follow  me  there — (Looks  at  the  two  men;  in  a  spirit 
of  mischief,  calls)  Jefferson 

JEFFERSON.  (Goes  to  door  c.  KATE  puts  up 
month  to  be  kissed.  JEFFERSON,  aside)  Oh,  no — 

KATE.    Yes — I  want  him  to  see 

JEFFERSON.    Yes,  but 

(KATE  kisses  him — BAGLEY  bus.) 

KATE.    We  are  perfectly  satisfied — (With  a  show 
of  love  that  she  does  not  feel)  aren't  we,  Jeff. 
JEFFERSON.     Perfectly — perfectly — (Sighs) 

(BAGLEY  business  and  turns  chair  very  madly  and 
reads  paper.  KATE  laughs  tantalizingly  and 
exits  c.) 

JEFFERSON.  I  say  Bagley,  I  ran  into  three  men 
just  now,  one  on  each  stairway — I  can't  turn  a 
corner  without  running  into  somebody — it  reminds 
me  of  the  time  I  was  learning  to  skate — (Dozvn  R. 
to  chair) 

BAGLEY.  Your  father's  personal  safety  demands 
the  utmost  precaution.  We  cannot  leave  the  life  of 
the  richest  and  most  powerful  financier  in  the  world 
at  the  mercy  of  the  rabble 

JEFFERSON.-  What  rabble?  (Gets  paper  from 
chair,  comes  c.  and  lioks  it  over) 

BAGLEY.    The  American  people ! 

JEFFERSON.    The  American  people  are  all  right. 

BAGLEY.  (Seated  at  corner  of  table  reading) 
Jefferson,  for  four  years,  I  was  third  groom  of  the 
bed  chamber  of  the  second  son  of  the  Royal  Family. 
I  know  my  responsibilities. 

JEFFERSON.    You're  all  right  Bagley,  old  man — 


36        THE  LION  AND  THE  MOUSE. 

No  one  can  arrange  a  menu  or  a  dance  as  you  can- 
but — there  are  other  things — (Crosses  to  desk) 

BAGLEY.  Do  you  know,  sometimes  I  think  I  don't 
understand  you. 

JEFFERSON.  Do  you  know  sometimes  I  think  you 
don't — When  do  you  expect  father? 

BAGLEY.  You  can't  see  him  till  dinner.  He  has 
three  appointments — General  Dodge,  the  chairman 
of  the  National  Republican  Committee,  and  Senator 
Roberts • 

JEFFERSON.    But  I  must  see  him 

BAGLEY.  I'm  afraid  it's  impossible — I  must  ask 
you  to  remember  that  this  is  his  sanctum  sanctorum 
and  that  he  sees  no  one  here  without  an  appoint 
ment. 

JEFFERSON.    Oh — (Crosses  R.  c.) 

(Enter  MRS.  JOHN  RYDER.  She  is  dressed  to  go 
out  driving.  She  is  putting  on  gloves.  BAGLEY 
rises,  stands  in  front  of  chair.) 

MRS.  RYDER.  Ah — Mr.  Bagley — they  said  you 
were  here — Jefferson  dear — (Bus.  BAGLEY  assumes 
a  deferential  attitude) — this  is  unexpected — (Kisses 
him)  Kate  is  in  the  billiard  room. 

JEFFERSON.  Yes — we  just  had  a  chat — How  are 
you,  mother? 

BAGLEY.    Can  I  do  anything  for  you,  Mrs.  Ryder? 

MRS.  RYDER.  (Bus.  with  letter)  Yes — Admiral 
Holly  wants  an  interview  with  Mr.  Ryder — (To 
desk)  Get  it  for  him — (BAGLEY  has  business) 
There's  a  dear  fellow — (Bus.  BAGLEY  takes  letter) 
And  here  is  the  answer  from  that  authoress  woman, 
Sarah  Green — I  wrote  to  her  as  Mr.  Ryder  re 
quested — me 

BAGLEY.     Yes 

(JEFFERSON  sits  R.  c.) 


THE  LION  AND  THE  MOUSE.         37 

MRS.  RYDER.  (Looking  at  letter)  She  will  be 
here  at  4 :  30  this  afternoon.  I  can't  see  her 

BAGLEY.  Mr.  Ryder  will ;  he  is  most  anxious  to 
see  her;  in  fact  he  has  mentioned  the  matter  twice 
which  means  a  great  deal  to  him. 

JEFFERSON.  Sarah  Green  ?  Isn't  that  the  woman 
authoress  of  whom  everybody  is  talking? 

MRS.  RYDER.  It's  the  woman  who  had  the  im 
pertinence  to  put  your  father  into  a  book  and  call 
it  "  The  Great  American  Octopus."  Haven't  you 
read  it? 

JEFFERSON.  No,  I  know  father  pretty  well  with 
out  reading  him  up. 

MRS.  RYDER.  (Crosses  R.  to  chair)  Here  is  the 
letter  Mr.  Bagley ;  Mr.  Ryder  told  me  that  he  had 
written  her  himself;  but  that  her  replies  were  not 
satisfactory.  (Crosses  R.,  JEFFERSON  rises,  goes  c. 
and  then  to  chair  at  table) 

BAGLEY.  (Looking  over  letters)  Not  satis 
factory!  They  were  frightfully  rude 

MRS.  RYDER.  Really,  and  what  was  her  replies? 
(Sits  R.) 

BAGLEY.  They  are  the  grossest  exhibition  of 
feminine  boldness  it  has  ever  been  my  lot  to 
encounter. 

JEFFERSON.  And  look  at  the  experience  he  has 
had.  Four  years  he  was  third  groom  of  the  bed 
chamber  of  the  second  son  of  the  Royal  Family. 

MRS.  RYDER.     Jefferson 

BAGLEY.  Mr.  Rydci',  after  he  had  read  the  book 
to  this  woman  and  asl:?d  rnr  to  call  upon  him — This 
is  her  reply — Dear  Sir : — I  do  not  call  upon  gentle 
men,  at  their  business  offices,  Yrnrs,  etc.— Sarah 
Green,  per  M.  G.  What  does  s^*  mean  by  that? 

JEFFERSON.    Good  for  Green! 

BAGLEY.  Did  you  ever  hear  such  effrontery — 
Then  follow  another  letter  from  Mr.  Ryder  asking 
her  to  call  here.  (Bus.  with  letter) — to  which  this 
reply: — "Am  sorry  I  am  unable  to  comply  with 


38         THE  LION  AND  THE  MOUSE. 

your  request,  as  I  prefer  the  invitation  to  call  at 
your  private  residence  should  come  from  Mrs. 
Ryder."  Good  God — can  you  imagine  such  a  thing 
possible. 

JEFFERSON.  What  did  the  "  Great  American 
Octopus  "  say  to  that  ? 

BAGLEY.  I  do  not  care  to  repeat  Mr.  Ryder's 
remarks 

MRS.  RYDER.  Your  father  asked  me  to  write — I 
dictated  a  note  to  my  secretary  and  Miss  Green 
has  done  me  the  honor  to  accept  my  invitation. 

BAGLEY.  But  how — (Waving  letter  angrily)  by 
a  typewritten  acknowledgment,  condescending  to 
accept  an  honor  that  the  entire  world  would  go  on 
their  knees  to  receive  a  mere  acknowledgment — 
typewritten !  Ah,  it  is  ridiculous — simply  supremely 
ridiculous 

JEFFERSON.  Well,  for  my  part,  I  admire  the 
woman's  independence 

(Enter  JORKINS,  c.) 

JORKINS.    Mr.  Bagley,  Mr.  Ryder  is  here,  sir 

BAGLEY.  (Flustered)  Oh — oh — are  the  men  at 
their  post  Jorkins? 

JORKINS.     Yes,  sir 

BAGLEY.  Er — I — er — I  think  I'll  go  and  meet 
him.  (Crosses  to  c.  back  of  desk)  Excuse  me, 
Mrs.  Ryder— I'll— I'll  tell  him  you  are  here—  (Exit 
c.  D.,  followed  by  JORKIIN:) 

JEFFERSON.  Mother,  can  you  imagine  such  a 
thing  as  that  possible  in  this  country? 

MRS.  RYDER.  Mr.  Bagley — Mr.  Bagley  is  a 
treasure 

JEFFERSON.  In  Europe  perhaps,  but  here  he's — • 
(Rises  and  crosses  to  R.  c.) 

MRS.  RYDER.  He  is  the  son  of  Lord  Oxhurst, 
and  he  understands  the  social  fabric  to  perfection — 
Our  entourage  would  be  most  incomplete  without 


THE  LION  AND  THE  MOUSE.         39 

him — he  knows  everything  that  a  gentleman  should 
know. 

JEFFERSON.  And  a  little  more — He  wasn't  a 
groom  of  the  back  stairs  for  nothing — (c.  and  then 
back  to  MRS.  RYDER.  Shrugs  shoulders)  He  rubs 
me  the  wrong  way — Mother,  I've  been  wanting  to 

talk  to  you  lately 

MRS.  RYDER.    Sorry  I  must  go,  dear — (Rises  and 

crosses  to  L.  c.)    Mrs.  Patson  is  waiting,  and 

JEFFERSON.    Now  mother,  can't  you  give  me  just 

a  moment 

MRS.  RYDER.  Jefferson,  dear,  what  is  the  matter. 
You  haven't  been  the  same  since  your  return  from 
Europe.  I'm  afraid  you  are  still  thinking  of  that 
Rossmore  girl.  I  had  hoped  that  was  over  and  done 
with. 

JEFFERSON.  It  isn't.  And  I'm  afraid  it  never 
can  be.  God  knows  I've  tried  hard  enough  to  forget 
her — I  want  to  speak  to  you  about  her — I  want  to 
tell  father  that  I  cannot  marry  Kate  Roberts ;  it  isn't 
fair  to  Kate  to  marry  her  with  another  girl  in  my 
heart. 

MRS.  RYDER.  My  dear  boy,  I  sympathize  with 
you,  but  what  can  I  do  ?  He  has  made  up  his  mind, 
and  once  that  is  done — I'm  afraid  he  won't  listen 

to  anyone — not  even  to  me 

JEFFERSON.  I  want  to  avoid  a  scene  with  father 
— (Down  R.)  and — if  I  speak  we  are  sure  to 

quarrel 

MRS.  RYDER.  Then  I'll  speak  to  him.  (Goes  to 
him  R.)  I'll  tell  him  that  you  love  this  other — 
(Pause,  as  if  afraid)  No — I  won't  do  that — I'll 
tell  him  you  can't  marry — Kate — At  least  not  at 
present — (BAGLEY  opens  c.  door  and  stands  L.  c. 
JORKINS  brings  on  box  which  he  places  on  chair 
down  L.  and  back  of  chair  and  stands  L.,  then  goes 

off)    I'll— I'll  hint  at  it 

RYDER.     (Off)     Attend  to  it  Jorkins. 
JORKINS.     (Outside)    Very  well,  sir ! 


40         THE  LION  AND  THE  MOUSE. 

MRS.  RYDER.  You  really  think  I  had  better  speak 
to  him? 

JEFFERSON.     Please  mother. 

RYDER.    Down  town. 

MRS.  RYDER.  I  don't  know.  (Nervously.  Bus. 
both  turn  and  look  at  door  nervously)  Perhaps 
after  all,  you  had  better  tell  him  yourself. 

JEFFERSON.  I  have  told  him,  Mother,  but  he 
doesn't  listen.  He  just  pays  no  attention. 

(Enter  JOHN  BURKETT  RYDER.) 

RYDER.  Ah,  Jefferson,  my  boy — (Goes  to  desk 
L.  to  MRS.  RYDER)  How  do  you  do,  my  dear — this 
is  an  unlocked  for  pleasure.  (BAGLEY  shows  card 
— bus.  looks  .at  card)  I  can't  see  Governor  Rice — • 
(To  BAGLEY)  Tell  him  so. 

BAGLEY.  Yes,  sir.  (Bus.  tells  JORKINS,  who 
exits  c.) 

RYDER.  (To  MRS.  RYDER)  Going  out  driving, 
dear?  I  saw  the  carriage  at  the  door — (Pause) 
Well,  can  I  do  anything  for  you? 

MRS.  RYDER.  (Nervously)  Er — yes — Jefferson 
tells  me — I — (RYDER  sits  down — paiise)  Er — per 
haps  some  time  later 

JEFFERSON.    Mother — -  — 

RYDER.    My  list,  Bagley 

BAGLEY.  Yes,  Mr.  Ryder,  I  have  it.  (Bus.  gives 
the  list,  then  goes  to  cabinet  and  gets  box  of  cigars) 

MRS.  RYDER.  Suppose  you  come  for  a  little  ride, 
John.  Give  up  work  for  to-day. 

RYDER.    Impossible,  my  dear — simply  impossible. 

MRS.  RYDER.  (Aside  to  JEFFERSON)  I  don't 
think  I'll  mention  the  matter  to  him  now — (Looks 
at  RYDER)  It  seems  hardly  the  moment.  (To 
RYDER)  Good-bye,  dear!  ( JORKINS  enters  c.  zvith 
card — hands  same  to  BAGLEY,  holds  door  open  for 
MRS.  RYDER.  To  JEFFERSON)  Better  not  say  any 
thing  to  him  just  at  this  moment.  It's  not  propitious 


THE  LION  AND  THE  MOUSE.          41 

— I  know  him  better  than  you  do — Good-bye,  dear 
— good-bye,  John.  (Exits  c.  D.) 

RYDER.  Oh,  good-bye — good-bye — good-bye — 
(BAGLEY  hands  card  to  RYDER)  Downstairs? 

JORKINS.    Yes,  sir 

RYDER.  (To  JEFFERSON)  Did  you  ask  General 
Abby  here  ? 

JEFFERSON.  Yes,  sir — he  wanted  to  see  you — I 
promised — (Crosses  to  desk) 

RYDER.  (To  JORKINS)  Downtown — to-morrow 
— any  time 

(BAGLEY  gives  card  to  JORKINS — who  exits,  BAGLEY 
back  to  desk.) 

JEFFERSON.  That  means — no  time — General 
Abby  is  not  a  politician,  he  is  a  soldier  and  one  of 
the  finest  men  we  have  in  the  army  to-day. 

RYDER.  I  shall  be  pleased  to  see  him — down 
town — if  I  can  spare  the  time. 

JEFFERSON.     If  he  were  a  politician 

RYDER.  As  he  isn't  we  won't  pursue  the  matter. 
One  of  these  days  my  dear  boy  you'll  learn  that 
listening  to  other  people's  business  makes  you  for 
get  your  own.  (To  BAGLEY)  And  any  word  from 
the  Green  woman. 

BAGLEY.  (Hands  letter  to  RYDER)  She  is  going 
to  call  at  half-past  four 

RYDER.  Half-past  four — eh?  (Bus.  looks  at 
JEFFERSON,  sees  that  he  is  still  in  room)  Do  you 
want  to  see  me,  Jefferson  ? 

JEFFERSON.  Yes,  sir.  (Firmly)  I  do — (Satiri 
cally)  if  you  can  spare  the  time 

RYDER.  Well,  to  be  perfectly  frank  with  you — I 
can't — but  I  will — (Bus.  with  SHIRLEY'S  letter — to 
BAGLEY)  Um — typewritten — when  she  conies  show 
her  in  here — what  else  have  I  for  this  afternoon? 
(BAGLEY  hands  list)  The  National  Republican 
Committee  can  wait.  Senator  Roberts — not  now — 


42         THE  LION  AND  THE  MOUSE. 

let  him  stay  in  the  billiard  room — I  expect  Chief 
Ellison  of  the  Secret  Service  Bureau  from  Wash 
ington — put  him  off  till  to-night — well  Jefferson, 
what  is  it  ?  What  is  it  ?  (Bus.  JEFFERSON  hesitates 
— looks  at  BAGLEY,  motions  him  to  go) 

BAGLEY.  (Rather  annoyed)  Perhaps  you'll  ex 
cuse  me? 

JEFFERSON.    That's  a  happy  thought. 

(BAGLEY  bows  and  exits  c.) 

RYDER.  I've  had  a  very  busy  day,  Jeff — What 
with  Trans-Continental  and  Trans-Atlantic  and 
Pacific  I  feel  like  Atlas  shouldering  the  world 

JEFFERSON.  Well  the  world  isn't  intended  for 
one  pair  of  shoulders  to  carry.  (Bus.  of  JEFFER 
SON) 

RYDER.  Why  not?  Julius  Caesar  carried  it — 
Napoleon  carried  it  to  a  certain  extent,  so  did — 
However — we  won't  go  into  that  now.  What  is  it, 
boy? 

JEFFERSON.  That's  just  it,  father.  I'm  no  longer 
a  boy — it's  time  to  treat  me  as  if  I  were  a  man — 
(Sits  R.  of  desk  L.) 

RYDER.  Oh,  dear — (Lays  back  in  his  chair  as  if 
resigned)  Well,  my  good  man,  what  is  it? 

JEFFERSON.  Father,  I  want  you  to  take  me 
seriously 

RYDER.  (Bus.  with  papers)  Go  on,  damn  it  all, 
be  serious,  if  you  want  to — only  don't  take  so  long 
about  it.  What  is  it?  Understand  one  thing.  I 
want  no  preaching,  no  philosophical  twaddle.  No 
Tolstoi,  he's  a  great  thinker,  and  you're  not — No 
Bernard  Shaw — he's  funny  and  you're  not — Now, 
then,  go  ahead 

JEFFERSON.  I  suppose  I  should  have  spoken  be 
fore 

RYDER.  (Breaking  in)  You  asked  me  once  why 
the  wage  of  the  idle  rich  was  wealth,  and  the  wages 


THE  LION  AND  THE  MOUSE.         43 

of  hard  work  was  poverty,  and  I  told  you  that  I 
worked  harder  in  one  day  than  a  tunnel  digger  in  a 
lifetime.  Thinking  is  a  harder  game  than  any,  and 
you  must  think  or  you  won't  know.  Napoleon  knew 
more  about  war  than  any  living  man  to-day,  and 
the  man  who  knows  is  the  man  who  wins  !  The  man 
who  takes  advice  isn't  fit  to  give  it,  that's  why  I 
never  take  yours,  now  then,  go  ahead  with  your 
story 

JEFFERSON.  Father,  you  have  done  me  an  in 
justice. 

RYDER.  An  injustice? — Ye  Gods — I  have  given 
you  the  biggest  name,  the  biggest  income  and  the 
most  colossal  gigantic  fortune  ever  collected  by 
mortal  man  is  waiting  for  you 

JEFFERSON.  Yes — (Rises)  At  the  expense  of 
my  liberty.  You  robbed  me  of  my  right  to  think, 
for  ever  since  I  wras  old  enough  to  think,  you  have 
thought  for  me.  Ever  since  I  was  old  enough  to 
choose  you've  chosen  for  me.  You  think,  choose 
and  will  for  everyone  in  this  house;  everyone  who 
comes  in  contact  with  you.  Yours  is  an  influence 
none  seem  able  to  resist — you  have  chosen  that  I 
should  marry  Kate  Roberts,  and  it  is  on  that  point 
I  want  to  speak.  Father — I — (RYDER  looks  at 
JEFFERSON  for  the  last  time)  It's  an  injustice  to 
her  and  I — I  can't — I  won't  do  it,  that's  all. 
(Crosses  to  R.  c.) 

RYDER.  So — you're  going  to — to — withdraw — 
eh?  (Softly  and  with  some  affection — comes 
around  front  of  table  and  crosses  to  JEFFERSON  c.) 
Don't  be  a  fool.  Jeff ;  I  don't  want  to  think  for  you 
or  choose  for  you ;  or  marry  for  you ;  but  I  know 
so  much  better  than  you  what  is  best  for  you ;  be 
lieve  me  I  do ;  don't  be  obstinate.  Kate's  father  has 
more  influence  in  the  Senate  than  any  dozen  others. 
Hang  it  all — you  like  Kate.  You  told  me  so,  and  I 
thought — (Suddenly  back  at  desk)  It  isn't  that 
Rossmore  girl,  is  it  ?  If  I  thought  Judge  Rossmore's 


44         THE  LION  AND  THE  MOUSE. 

daughter — oh,  well,  you  know  what  is  going  to  hap 
pen  to  him — don't  you? — (Sits  at  desk) 

JEFFERSON.  I  know  what  he  is  accused  of  and 
I — want  to  be  of  some  assistance  to  him.  I  want  to 
go  away  from  here 

RYDER.  (Striking  desk)  That  man — he  has  al 
ways  opposed  me ;  he  has  defied  my — my  authority, 
and  now  his  daughter — his  daughter  has  entrapped 
my  son — so  you  want  to  go  to  her,  eh?  Well, 
marry  Kate  or  not — as  you  please — but  I  want  you 
to  stay  here — (Sees  JEFFERSON'S  objection — softly) 
you  need  me,  my  boy,  yes  you  do — You  mustn't  go 
away — You're  the  only  flesh  and  blood  tie  I  have. 
You  see  my  weakness — you  know  that  I  want  you 
with  me,  and  you  take  advantage — you  take  ad 
vantage. 

JEFFERSON.  No,  father,  I  don't.  But  I  want  to 
go  away — I  want  to  go  some  place  where  I  am  free 
— some  place  where  I  can  meet  my  fellow  men 
heart  to  heart,  on  an  equal  basis,  some  place  where 
I'm  not  pointed  out  as  the  son  of  Ready  Money 
Ryder,  the  richest  man  in  the  world.  (Goes  c.) 
I  think  I'll  go  West,  study  law  and  become  a  lawyer. 

RYDER.  Why  not  go  to  church,  study  Theology 
and  become  a  preacher?  No,  my  lad  you  stay  here 
— Study  my  interests — study  the  interests  that  will 
be  yours  some  day — watch  which  way  the  cat  jumps 
and  jump  with  it. 

JEFFERSON.    I'd  rather  go 

RYDER.  Then  go,  damn  it,  go — I'm  not  fool 
enough  to  suppose  I  can  keep  you  here  against  your 
will  or  make  you  marry  any  girl ;  you  don't  want 
to,  but  I  can  prevent  your  throwing  yourself  away 
on  the  daughter  of  a  man,  who  is  about  to  be  publicly 
disgraced — by  God,  I  will. 

JEFFERSON.  Poor  old  Rossmore — (Crosses  to 
desk)  If  the  inside  history  of  every  financial 
transaction  were  made  known,  how  many  of  us 
would  escape  public  disgrace?  Would  you? 


THE  LION  AND  THE  MOUSE.         45 

RYDER.  (Rises,  ivalks  violently  up  and  down) 
Upon  my  word — you  are  the  most  aggravating — 
you — it's  no  use  disinheriting  you  because  you 
wouldn't  care — (JEFFERSON  comes  to  c.)  I  think 
you'd  be  glad  of  it — Upon  my  soul  I  do — Jefferson, 
will  you  give  me  your  word  of  honor,  your  object 
in  going  away  is  not  to  find  the  girl  and  marry  her  ? 
I  don't  mind  your  losing  your  heart,  but  damn  it  all, 
don't  lose  your  head.  (Crosses  to  him  c.)  Come, 
give  me  your  hand  on  that 

(JEFFERSON  holds  out  hand  reluctantly.) 

RYDER.  If  I  thought  it  was  the  Rossmore  woman 
I'd  have  her  father  sent  out  of  this  country  and  the 
woman  too 

JEFFERSON.  It  is  not — (Pulls  hand  away 
abruptly) 

RYDER.  You  know  I  trust  you  Jeff — now  think 
it  over  about  Kate — and  don't  decide  hastily— 
(Turns  up-stage  and  walks  with  him  then  back  to 
desk)  There,  there  now,  run  away;  there's  a  good 
lad,  for  I  have  to  study  the  advance  report  of  the 
Inter  Railway  Commerce-Commissions  and  get  it 
back  to  Washington  to-night.  (RYDER  holds  up 
a  typewritten  document) 

JEFFERSON.  Do  you  mean  to  say  that  you  see  it 
before  the  Senate  or  the 

RYDER.  (Reading  document)  Take  a  tip  from 
Washington,  my  boy,  and  jump  with  the  cat.  At 
present  I'm  the  cat. 

(Enter  BAGLEY  c.) 

BAGLEY.    Will  you  see  Miss  Green  now  ? 

RYDER.  Ah — yes — show  her  in — (Exit  BAGLEY 
c.)  Think  it  over  Jefferson 

JEFFERSON.  I  have  thought  it  over — and  I  have 
decided  to  go 

RYDER.    Think  it  over  again 


46         THE  LION  AND  THE  MOUSE. 

JEFFERSON.  It's  no  use;  my  mind  is  made  up. 
(Exits  c.) 

RYDER.  (Bus.  glances  over  document;  then 
comes  to  a  paragraph  that  apparently  annoys  him — 
Telephone  rings — throws  down  document — seises 
telephone  on  table — listens  a  moment}  Mr.  Ryder 
is  out — (Pause)  He's  busy — (Phone  rings  again — 
shuts  off  telephone — picks  up  document) 

JORKINS.    (Announces  quietly)    Miss  Green,  sir. 

(Enter  SHIRLEY  c.  She  watches  RYDER — RYDEK 
smokes  hard,  throws  down  the  document  ana 
sees  SHIRLEY  looking  at  him — he  is  evidently 
surprised  at  her  youth — and  takes  the  cigar  out 
of  his  mouth  and  rises.) 

SHIRLEY.  Oh,  please  go  on  smoking — I  don't 
mind  it  in  the  least. 

RYDER.  Thank  you.  (Throws  cigar  in  ash  tray 
on  desk — looks  closely  at  her)  Are  you  Miss 
Green  ? 

SHIRLEY.  That's  my  non-de-plume,  yes.  Are  you 
Mr.  Ryder? 

RYDER.    Yes,  won't  you  sit  down  ? 

SHIRLEY.  Thank  you.  (Sits  opposite  him  at 
table) 

RYDER.  (Inspecting  SHIRLEY  very  closely)  I 
rather  expected — you're  younger  than  I  thought  you 
were,  Miss  Green,  much  younger. 

SHIRLEY.  Time  will  remedy  that — I  rather  ex 
pected  to  see  Mrs.  Ryder.  (Bus.  with  letter) 

RYDER.  Yes — she — wrote — but — I — I — wanted 
to  see  you — (Bus.  picks  up  book) — about — this • 

SHIRLEY.    Oh,  have  you  read  it? 

RYDER.  I  have — I — er — I  am  sure  your  time  is 
valuable — so  I'll  come  straight  to  the  point — I  want 
to  ask  you  where  you  got  the  character  of  the  central 
figure ;  the  Octopus,  as  you  call  him,  John  Broderick. 

SHIRLEY.     From  imagination,  of  course. 


THE  LION  AND  THE  MOUSE.         47 

RYDER.  You've  sketched  a  pretty  big  man  here — 
(Bus.  opens  book  at  marked  placed) 

SHIRLEY.  He  has  big  possibilities — but  I  think 
he  makes  very  small  use  of  them. 

RYDER.  On  page  22,  you  call  him  the  greatest  ex- 
amplar  of  individual  human  will  in  existence  to 
day.  And  you  make  indomitable  will  and  energy 
as  the  keystone  of  his  marvellous  success. 

SHIRLEY.    Yes. 

RYDER.  On  page  28  you  say  "  The  machinery  of 
his  money-making  mind  typifies  the  laws  of 
perpetual  unrest — it  must  go  on — go  on — relent 
lessly — resistlessly — making  money — making  money 
— and  continuing  to  make  money — it  cannot  stop 
until  the  machinery  crumbles.  Do  you  mean  to  say 
I  couldn't  stop  to-morrow  if  I  wanted  to? 

SHIRLEY.    You? 

RYDER.  Well — it's  a  natural  question — every  man 
sees  himself  in  the  hero  of  a  novel,  as  every  woman 
does  in  the  heroine — we're  all  heroes  and  heroines 
in  our  own  eyes — I'm  afraid — (Shuts  book)  but 
— what's  your  private  opinion  of  this  man  you 
drew  the  character.  What  do  you  think  of  him  as 
a  type;  how  would  you  classify  him? 

SHIRLEY.  As  the  greatest  criminal  the  world 
ever  produced. 

RYDER.     Criminal?     (Astonished) 

SHIRLEY.  He  is  avarice — egotism — and  ambi 
tion  incarnate — he  loves  money  becauce  he  loves 
power  better  than  manhood  or  womanhood 

RYDER.    Um — rather  strong 

SHIRLEY.  Of  course,  no  such  man  really  ex 
isted. 

RYDER.  Of  course  not.  (Looks  closely  at  her  to 
see  if  she  is  conscious  but  she  appears  not  to  see 
him.  Then  business — looks  through  book.  He  is 
thoughtful) 

SHIRLEY.    But  you  didn't  ask  me  to  call  merely 


48         THE  LION  AND  THE  MOUSE. 

to  find  out  how  I  liked  my  work.  That  sounds  like 
an  interview  in  a  Sunday  paper. 

RYDER.  (Laughs)  No — I  want  you  to  under 
take  a  little  work  for  me.  (Opens  box)  I  want 
you  to  put  my  autobiography  together  from  this 
material — (He  takes  out  several  voluminous  fools 
cap  documents,  number  of  letters,  etc.,  which  he 
places  on  the  table)  I  want  to  know — where  you 
got  the  details  of  that  man's  life.  (Sits  down, 
takes  up  book) 

SHIRLEY.  For  the  most  part,  imagination — news 
papers — magazines — you  know  the  American  Mil 
lionaire  is  a  very  overworked  topic — and  naturally 
I've  read 

RYDER.  Well,  I  refer  to  what  you  haven't  read ; 
what  you  couldn't  have  read ;  this  is  what  I  mean — 
(Bus.  turns  back  to  book)  "  As  evidence  of  his 
petty  vanity,  when  a  youth  he  had  a  beautiful  Indian 
girl  tatooed  just  above  his  forearm."  Now  who 
told  you  I  had  my  arm  tatooed  when  I  was  a  boy? 

SHIRLEY.    Have  you  ?    Why,  what  a  coincidence. 

RYDER.  (With  sarcasm)  Yes — well — let  me 
read  you  another  coincidence.  (Reads  from  book) 
"  The  same  eternal  long  black  cigar  between  his 
lips." 

SHIRLEY.  General  Grant  smoked — all  men  who 
think  deeply  along  material  lines  smoke 

RYDER.  Well — well — let  that  go — how  about 
this  ?  "  John  Broderick  loved  when  a  young  man  a 
girl  who  lived  in  Vermont,  but  circumstances 
separated  them."  I  loved  a  girl  when  I  was  a  lad 
and  she  lived  in  Vermont,  and  circumstances 
separated  us — that  isn't  a  coincidence — for  presently 
you  make  John  Broderick  marry  a  young  woman 
who  had  money — I  married  a  girl  with  money  and — 

SHIRLEY.    Lots  of  men  marry  for  money 

RYDER.  (Sharply)  I  said  with  money,  not  for 
money — but  this,  this  is  what  I  can't  understand — • 
for  no  one  could  have  told  this  but  myself — (Reads) 


THE  LION  AND  THE  MOUSE.         49 

"With  all  his  physical  bravery,  and  his  personal 
courage,  John  Broderick  was  intensely  afraid  of 
death.  It  was  in  his  mind  constantly."  (Rises) 
Who  told  you  that?  I — I've  never  mentioned  it  to 
a  living  soul. 

SHIRLEY.  Most  men  who  amass  money  are  afraid 
of  death,  because  death  is  about  the  only  thing  that 
can  separate  them  from  their  money. 

RYDER.  Why,  you  are  quite  a  character.  (Both 
laugh)  This  fellow  Broderick  is  all  right,  but  I 
don't  like  his  finish.  (She  laughs — then  both  laugh 
together} 

SHIRLEY.    It's  logical. 

RYDER.  You're  a  curious  girl — upon  my  word — 
you  interest  me — I  want  you  to  make  as  good  a  book 
of  this  chaos  as  you  did  out  of  your  own  imagina 
tion.  (Takes  more  manuscripts  out  of  box) 

SHIRLEY.  So  you  think  your  life  is  a  good  ex 
ample  to  follow.  (Looking  carelessly  over  papers) 

RYDER.    Isn't  it  ? 

SHIRLEY.  Suppose  we  all  wanted  to  follow  it, 
suppose  we  all  wanted  to  be  the  richest,  the  most 
powerful  personage  in  the  world 

RYDER.     Well?     (Back  of  desk) 

SHIRLEY.  I  think  it  would  postpone  the  Era  of 
the  Brotherhood  of  Man,  indefinitely — don't  you? 

RYDER.  I  never  looked  at  it  from  that  point  of 
view — (Sits)  You're  a  strange  girl — you  can't  be 
more  than  twenty  or  so? 

SHIRLEY.    I'm  twenty-four— or  so 

RYDER.  Where  did  you  get  these  details  ?  Come, 
take  me  into  your  confidence. 

SHIRLEY.  I  have  taken  you  into  my  confidence 
and  it  cost  you  a  dollar  and  a  half.  (Points  to 
book,  then  bus.)  I'm  not  so  sure  about  this 

RYDER.  You  don't  think  my  life  would  make 
good  reading? — 

SHIRLEY.  It  might.  (Looking  over  papers) 
But  I  don't  consider  mere  genius  in  money  making 


50         THE  LION  AND  THE  MOUSE. 

is  sufficient  provocation  for  rushing  into  print— 
You  see  unless  you  came  to  a  bad  end,  it  would 
have  no  moral 

RYDER.  Upon  my  word — I  don't  know  why  I'm 
so  anxious  to  have  you  do  this  work.  I  suppose  it's 
because  you  don't  want  to — you  remind  me  of  my 
son — ah — he's  a  problem 

SHIRLEY.     Wild   ? 

RYDER.    No,  I  wish  he  were. 

SHIRLEY.  Fallen  in  love  with  the  wrong  woman, 
I  suppose. 

RYDER.  Something  of  the  sort — How  did  you 
guess  ? 

SHIRLEY.  Oh,  I  don't  know.  So  many  boys  do 
that — besides  I  can  hardly  imagine  that  any  woman 
would  be  the  right  woman  unless  you  selected  her 
yourself. 

RYDER.  Do  you  know  you  say  the  strangest 
things  ? 

SHIRLEY.  Truth  is  strange,  isn't  it?  I  don't  sup 
pose  you  hear  it  very  often. 

RYDER.    Not  in  that  form 

SHIRLEY.  (Bus.  with  letters)  All  these  from 
Washington  consulting  you  on  politices  and  finance. 
They  won't  interest  the  world. 

RYDER.  Your  artistic  sense  will  tell  you  what  to 
use. 

SHIRLEY.    Does  your  son  still  love  this  girl? 

RYDER.    No. 

SHIRLEY.    Yes,  he  does. 

RYDER.    How  do  you  know  ? 

SHIRLEY.    From  the  way  you  say  he  doesn't. 

RYDER.  You're  right  again — the  idiot  does  love 
her. 

SHIRLEY.  (Aside)  Bless  his  heart — (Aloud) 
Well,  I  hope  they'll  both  outwit  you 

RYDER.  (Laughs,  more  interested  in  her  than 
ever)  Do  you  know,  I  don't  think  I  ever  met  any 
one  in  my  life  quite  like  you. 


THE  LION  AND  THE  MOUSE.         51 

SHIRLEY.    What's  your  objection  to  this  girl? 

RYDER.  Every  objection.  I  don't  want  her  in  my 
family. 

SHIRLEY.  Anything  against  her  character  ?  (Bus. 
with  papers  to  hide  interest) 

RYDER.  (Back  to  desk)  Yes — no — not — that  I 
know  of,  but  because  a  woman  has  a  good  character, 
that  doesn't  necessarily  mean  that  she  should  make 
a  desirable  match,  does  it?  (Starts  back  to  chair) 

SHIRLEY.    It's  a  point  in  her  favor,  isn't  it? 

RYDER.    Yes — es — but 

SHIRLEY.  You  are  a  great  student  of  men, 
aren't  you,  Mr.  Ryder? 

RYDER.    Yes — I — (In  front  of  chair) 

SHIRLEY.  Why  don't 'you  study  women?  That 
would  enable  you  to  understand  a  great  many  things 
that  I  don't  think  are*quite  clear  10  you  now. 

RYDER.  (Standing)  I  will — I'm  studying  you — 
but  I  don't  seem  to  be  making  much  headway — 
(Sits)  A  woman  like  you  whose  mind  isn't  eaten 
up  with  the  amusement  habit  has  great  possibilities, 
great  possibilities.  Do  you  know  you're  the  first 
woman  I  ever  took  in  my  confidence?  I  mean  at 
sight — I'm  acting  on  sentiment — something — I 
rarely  do.  I  don't  know  why — I  like  you,  upon 
my  word,  I  do,  and  I'm  going  to  introduce  you  to 
my  wife — my — son — (Bus.  with  telephone)  And 
you're  going  to  be  a  great  friend  of  theirs.  You 
are  going  to  like  them — You 

SHIRLEY.  What  a  commander  in  chief  you  would 
make.  How  natural  it  is  for  you  to  command.  I 
suppose  you  always  tell  people  what  they  are  to  do, 
and  how  they  are  to  do  it.  You  are  a  natural  born 
general.  You  know,  I've  often  thought  that  a 
Napoleon  and  Caesar  and  Alexander  must  have  been 
domestic  leaders  as  well  as  Imperial  Rulers.  I  am 
sure  of  it  now. 

RYDER.       (Nonplussed)      Well— of— all—  (Gets 


52         THE  LION  AND  THE  MOUSE. 

up  one  step  from  chair  and  bows)    Will  you  please 

do  me  the  honor  to  meet  my  family 

SHIRLEY.  (Smiling  sweetly)  Thank  you,  Mr. 
Ryder — I  will — (Looks  at  paper  to  conceal  de 
light) 

(RYDER  shakes  his  head,  gives  her  up  as  a  conun 
drum.  ) 

RYDER.  (At  telephone)  Hello,  hello,  is  that  you, 
Bagley?  (A  pause)  Get  rid  of  General  Dodge.  I 
can't  see  him  to-day.  I'll  see  him  to-morrow  at  the 
same  time.  (Hangs  up)  Eh?  (SHIRLEY  bus. 
with  papers,  startled,  nearly  drops,  utters  a  slight 
cry)  What's  the  matter? 

SHIRLEY.  Nothing — nothing — (Aside,  looks  at 
RYDER — tries  to  abstract  letter  from  papers,  but  he 
casually  catches  her  eye — This  bus.  most  important 
' — she  pretends  to  be  indifferent  when  RYDER  looks 
at  her) 

RYDER.  (To  SHIRLEY)  Well,  well,  consider  the 
matter  settled — when  will  you  come? 

SHIRLEY.  (In  a  peculiar  hoarse  voice,  showing 
she  is  under  a  strain)  You  want  me  to  come  here? 
(She  is  frightened,  looks  at  letter  then  at  RYDER — 
he  catches  her  eyes,  leans  on  desk,  then  at  letter 
she  is  reading) 

RYDER.  Yes,  I  don't  want  these  papers  to  get 
out  of  the  house — hello,  what's  that  ?  Excuse  me — 
(Sees  that  she  is  reading  and  realizes  it  is  an  im 
portant  private  paper,  takes  it  away  from  her) 
How  on  earth  did  they  get  there — Curious — they're 
from  the  very  man  we  were  speaking  of — (Takes 
keys  out  of  pocket  and  opens  drawers) 

SHIRLEY.    You  mean  Judge  Rossmore? 

RYDER.  (Suspiciously)  How  do  you  know  it 
was  Judge  Rossmore  ?  I  didn't  know  his  name  was 
mentioned. 

SHIRLEY.    I  saw  his  signature 


THE  LION  AND  THE  MOUSE.         53 

RYDER.    Oh — (Locks  letters  in  drawer) 

SHIRLEY.  He's  the  father  of  the  girl  you  dislike, 
isn't  he? 

RYDER.  Yes — he's  the — the — (Ends  sentence 
with  a  gesture  of  impatient  auger) 

SHIRLEY.     How  you  hate  him. 

RYDER.  Not  at  all.  I  disagree  with  his  politics 
and  his  methods — and  I  know  very  little  about  him 
except  that  he  is  about  to  be  removed  from  office. 

SHIRLEY.  Oh — about  to  be — (Rises  and  drops 
paper)  Then  it  is  decided  even  before  he  is  tried — 
(Starts  to  pick  up  papers) 

RYDER.  No,  no,  allow  me.  (Picks  up  papers  and 
goes  back  to  box  -for  papers) 

SHIRLEY.  If  I  remember  correctly  some  of  the 
newspapers  seem  to  think  he  is  innocent  of  the 
charge  of  which  he  is  accused 

RYDER.     (Thoughtfully)     Perhaps 

SHIRLEY.    In  fact  most  of  them  are  on  his  side. 

RYDER.    Yes. 

SHIRLEY.  Whose  side  are  you  on?  Really  and 
truly 

RYDER.  Whose  side  am  I  on?  I — Oh,  I  don't 
know  that  I  am  on  any  side — I  don't  know  that  I 
give  it  much  thought — I 

SHIRLEY.  Do  you  think  this  man  deserves  to  be 
punished? 

RYDER.    Why  do  you  ask?    (On  feet) 

SHIRLEY.  I  don't  know — it  interests  me — (Try 
ing  to  be  calm)  That's  all — it's  a  romance — your 
son  loves  the  daughter  of  this  man ;  he's  in  disgrace, 
many  seem  to  think  unjustly.  (  With  some  emotion) 
And  I  have  heard  from  some  source  or  other — you 
know  I — (With  great  caution,  but  keeping  the  fact 
from  RYDER)  know  a  great  many  newpaper  men, 
in  fact,  I  have  done  newspaper  work  myself — I 
have  heard  that  life  has  no  longer  any  interest  for 
him — that  he  is  not  only  disgraced  but  beggared  ; 
that  he  is  pining  away — slowly  dying  of  a  broken 


54         THE  LION  AND  THE  MOUSE. 

heart.  (Sits  all  through  this  scene — she  tries  to  be 
light)  Ah,  why  not  come  to  his  rescue — You  who 
are  rich,  so  powerful 

RYDER.  My  dear  girl — you  don't  understand — 
his  removal  is  a  necessity. 

SHIRLEY.    You  think  this  man  is  inn^c^nt. 

RYDER.    Even  if  I  knew  it,  I  couldn't  move. 

SHIRLEY.  Not  if  you  knew?  Do  you  mean  to 
say  if  you  had  the  absolute  proof  you  couldn't  help 
him? 

RYDER.  I  could  not  betray  the  men  who  have 
been  my  friends — it's 

SHIRLEY.  Oh,  it  is  politics — that's  what  the  papers 
said  and  you  believe  him  innocent — (Laughs)  Oh, 
I  think  you  are  having  a  little  joke  at  my  expense 
just  to  see  how  far  you  can  lead  me.  I  dare  say 
Judge  Rossmore  deserves  all  he  gets — Oh,  yes,  he 
deserves  it.  (RYDER  watches  her  curiously)  Please 
forgive  me — I — (Laughs  to  conceal  emotion)  It's 
the  artistic  imaginative  temperament  in  full  work 
ing  order — a  story  of  hopeless  love  between  two 
people — with  the  father  of  the  girl  hounded  by 
politicians  and  financiers.  It  was  too  much  for  one 
— ha!  ha!  I  forget  where  I  was.  (She  watches 
RYDER  furtively — nervous — wipes  perspiration  from 
face — Crosses  R.) 

(SENATOR  ROBERTS  followed  by  KATE  enters  c., 
comes  down.    KATE  on  L.) 

SENATOR.  I  assumed  the  privilege  of  an  old 
friend  and  passed  by  the  guard,  Kate  gave  Bagley 
a  countersign  and  got  through  with  it. 

RYDER.  Glad  to  see  you  Senator.  Sorry  to  have 
kept  you  waiting — Miss  Green  allow  me  to  introduce 
Senator  Roberts  and  Miss  Roberts — (All  bow) 
Senator,  this  is  the  young  woman  who — (Shows 
book)  She  is  the  one  who  did  it. 

KATE.    Oh,  really — (Crosses  to  desk) 


THE  LION  AND  THE  MOUSE.         55 

SENATOR.  God  bless  my  soul!  You  don't  say 
so !  So  young  and  so — so — indeed  this  is  an  unex 
pected  pleasure — (Crosses  R.)  Did  you  know  that 
your  book  has  been  quoted  in  our  Senate  Chamber 
by  one  of  the  Populist  Members,  as  the  mirror  in 
which  a  commercial  Octopus  could  gaze  upon  him 
self 

SHIRLEY.     (R.  c.)    Really — I 

RYDER.  (Taps  bell)  I'll  order  some  tea— you'd 
like  a  cup  of  tea — wouldn't  you  Miss  Green,  so 
would  you  Kate. 

KATE.  Tea  in  the  sanctum  sanctorum — What 
will  Mr.  Bagley  think — Father,  do  you  hear? 

SENATOR.  Yes,  but  I  prefer  soda  and  whiskey — 
(Crosses  L.  c.) 

KATE.  Miss  Green  if  you  only  knew  what  ex- 
cepional  honors  were  being  heaped  upon  us 

(Enter  JORKINS.) 

RYDER.    Tea — Jorkins — here 

(Enter  JEFFERSON.) 

JORKINS.    Here,  sir? 
RYDER.    Yes,  here 

(Exit  JORKINS.) 

JEFFERSON.  Excuse  my  interrupting,  Father,  but 
I  leave  to-morrow  and  before  I  go—  (Down  to  L. 
to  R.) 

RYDER.  We'll  talk  about  that  to-night — I  want 
you  to  meet  Miss  Green.  Miss  Green,  this  is  my 
son,  Jefferson — (Looks  at  paper  on  desk) 

JEFFERSON.     (Starts)  "Miss  Green 

RYDER.  Yes,  Miss  Green,  the  writer — (Going 
up) 

SHIRLEY.    I  am  pleased  to  meet  you,  Mr.  Ryder. 


56        THE  LION  AND  THE  MOUSE. 

(Holds  out  her  hand — he  is  dumbfounded — stares 
at  her  face — he  doesn't  see  her  outstretched  hand) 

RYDER.  (Rather  amazed)  Why  don't  you  shake 
hands  with  her — She  won't  bite  you — (Crosses  up 
and  R.  c.  SHIRLEY  and  JEFFERSON  shake  hands) 
Kate — Miss  Green — (KATE  comes  down  R.  c.)  I 
want  you  to  know  this  little  girl  very  well — she's 
going  to  be  my  son  Jefferson's  wife — (The  girls 
smile  at  each  other)  And  I  want  you  to  look  after 
Jefferson — (Enter  BAGLEY  c.,  followed  by  Servant 
with  tea  tray.  To  SHIRLEY)  I  want  you  to  talk  to 
him  the  same  as  you  did  to  me — (Bus.  with 
ROBERTS) 

JEFFERSON.     Shirley 

SHIRLEY.    Miss  Green 

JEFFERSON.    Miss  Green,  may  I  get  you  some  tea. 

SHIRLEY.     Thank  you — yes 

RYDER.  Senator,  the  young  man  has  a  will  of 
his  own — but  he  will  come  to  our  way  of  thinking 
— he'll  come  around 

JEFFERSON.    Sugar  ? — 

SHIRLEY.  One  lump  please — (JEFFERSON  brings 
down  tea)  and  later  on  I  want  to  get  the  key  of 
that  left  hand  corner  drawer 

JEFFERSON.     Father's  private  desk? 

SHIRLEY.     Hush 

JEFFERSON.  (Crosses  to  RYDER)  Father,  I've 
changed  my  mind — I'm  not  going  away — (Business) 

CURTAIN. 


THE  LION  AND  THE  MOUSE.         57 

ACT  III. 

AT  RISE  : — Music. 

DISCOVERED :— RYDER  at  bookcase  R.  looking 
over  stock  list  and  books.  As  curtain  rises  he 
crosses  to  L.  gets  a  cigar  from  box  on  table, 
lights  it  as  he  starts  to  cross  R. 

(Enter  MRS.  RYDER.) 

MRS.  RYDER.  I'm  so  glad  you  are  alone  dear.  I 
just  want  a  few  words. 

RYDER.  Very  well  then  I'll — (Starts  to  throw 
away  cigar  in  fireplace) 

MRS.  RYDER.  (Hesitates)  Go  on  smoking. 
Don't  mind  me. 

RYDER.     Thank  you — well 

MRS.  RYDER.    Oh,  dear! 

RYDER.  Is  there  anything  I  can  do  for  you  my 
dear.  (Shakes  her  head) 

MRS.  RYDER.  I  wanted  to  speak  to  you  about — 
about  Jeff — (Bus. — RYDER  shows  impatience)  Now, 
give  me  five  minutes  John — the  boy  is  so  unhappy 
— He  wants  to  please  us,  but 

RYDER.    But  he  insists  upon  pleasing  himself 

MRS.  RYDER.  I'm  afraid  his  affection  for  Miss 
Rossmore  is  deeper  than  you  realize 

RYDER.  Miss  Rossmore.  I  am  sorry  my  dear, 
that  you  seem  inclined  to  listen  to  Jefferson.  It  only 
encourages  him  in  his  attitude  towards  me.  Kate 
will  make  him  an  excellent  wife ;  the  other  woman 
will  drag  him  down ;  are  you  willing  to  sacrifice  your 
son's  dignity  and  honor  to  a  mere  boyish  whim? 

MRS.  RYDER.  It's  very  hard  for  a  mother  to 
chose.  Miss  Green  says — (Sits  L.) 


58     'THE  LION  AND  THE  MOUSE. 

RYDER.  Have  you  consulted  Miss  Green  on  the 
subject?  (Leans  on  chair  R.) 

MRS.  RYDER.  Yes,  I  don't  know  how  I  came  to 
tell,  but  I  did — I  seem  to  tell  her  everything.  I 
find  her  such  a  comfort — Do  you  know,  John,  I 
haven't  had  an  attack  of  nerves  since  that  girl  has 
been  in  the  house.  She  seems  to  ward  them  all  off. 

RYDER.  I  wish  she'd  ward  this  Rossmore  girl 
off.  I  wish  she — (Pause)  If  she  were  Kate  she 
wouldn't  let  Jeff  slip  through  her  fingers.  (Goes  to 
books) 

MRS.  RYDER.  No,  I've  often  wished  that  Kate 
were  more  like  her.  Kate  is  a  very  nice  girl,  a 
charming  tactful  girl,  but  she  isn't  Miss  Green. 
How  that  girl  does  grow  on  me.  Kate  is  so — 
(Shakes  her  head) 

RYDER.  (Crosses  to  desk — back  to  her)  She  is 
the  daughter  of  my  friend — Senator  Roberts,  and 
she  is  Jeff's  affianced  wife,  they've  been  engaged  two 
years,  and  he'll  keep  his  word — or — Caroline — go 
back  to  the  ballroom,  spread  the  report  among  your 
guests  that  the  wedding  is  to  take  place  four  weeks 
from  to-morrow.  He'll  keep  his  word  for  Kate's 
sake.  I  know  that  boy.  Tell  Miss  Patterson  she'll 
do  the  rest. 

MRS.  RYDER.  Four  weeks  from  to-morrow,  a 
month.  (Rises,  crosses  R.) 

RYDER.  Yes,  a  month.  (  Telephone  rings  on  desk. 
RYDER  bus.  Picks  up  receiver) 

MRS.    RYDER.      Four    weeks    from    to-morrow. 

(Stop  music.    Bell  down-stage  on  table.) 

RYDER.  Hello.  Who?  (Pause)  Senator 
Roberts?  (Pausing — looking  serious)  Send  him 
up  at  once — (Bus.  Hangs  up  receiver)  What  is 
he  doing  away  from  Washington  ?  Oh,  my  dear.  Go 
back  to  the  Ball  room  and  do  as  I  ask  you  about 
Jefferson,  please. 


THE  LION  AND  THE  MOUSE.         59 

MRS.  RYDER.    Yes,  but  I — very  well.    (Up  to  c.) 

RYDER.    Oh,  Caroline,  what  did  Miss  Green  say  ? 

MRS.  RYDER.  She  says  we  are  quite  right  from 
our  point  of  view. 

RYDER.  -  Ah ! 

MRS.  RYDER.  But,  that  our  point  of  view  is  a 
mistake. 

RYDER.    Oh,  indeed! 

(Enter  SENATOR  ROBERTS.) 

MRS.  RYDER.  Ah,  good-evening,  Senator.  I  sup 
pose  I  can't  tempt  you  to  dance. 

ROBERTS.  Thank  you — no — I — I've  been  led  a 
pretty  dance  already — I — (Pause) 

MRS.  RYDER.  Well,  good-bye.  Don't  keep  him 
here  long,  Senator.  (Exits  c.) 

RYDER.  Why  have  you  left  Washington  at  a 
critical  moment  like  this  ?  The  Rossmore  impeach 
ment  needs  every  f  rend  we  have. 

ROBERTS.  (Down  to  desk)  Family  matters. 
Politics  will  have  to  be  side-tracked  until  it's — it's 
settled — about  four  o'clock  this  afternoon  Mrs. 
Roberts  informed  me  over  long  distance  that  she 
has  come  into  possession  of  correspondence,  show 
ing  my  daughter  is  planning  to  run  off  with  Mr. 
Bagley. 

RYDER.    Bagley  ? 

ROBERTS.  Yes,  eight  o'clock  to-morrow  morning 
is  the  appointed  hour  for  the  elopement. 

RYDER.  (Ring  bell  down  table)  They're  both 
here,  Bagley  and  Kate — ha 

ROBERTS.  Who  the  devil  is  this  Bagley?  (Sits 
R.  of  desk) 

RYDER.    English — blue  blook — no  money — (Sits) 

ROBERTS.  That's  the  only  thing  we  seem  to  get 
over  here.  We  furnish  the  money;  they  furnish 
the  blood.  Damn  this  blue  blood  I  don't  want  any 
of  it  in  mine. 


60         THE  LION  AND  THE  MOUSE. 
(Enter  JORKINS.) 

RYDER.    Mr.  Bagley,  here,  at  once. 

JORKINS.    Yes — sir — (Exit  c.) 

ROBERTS.  I  was  sorry  to  leave  Washington,  at 
such  a  time,  but  I'm  a  father  and  Kate  is  more 
to  me  than  this  Rossmore  impeachment.  Besides 
her  marriage  to  your  son  Jefferson  is  one  of  the 
ambitions  of  my  life. 

RYDER.  That  point  is  settled.  The  wedding  is 
set  for  one  month  from  to-day. 

ROBERTS.    Mr.  Bagley  seems  to  have  unsettled  it. 

RYDER.  The  only  thing  Mr.  Bagley  has  unsettled 
is  his  own  future.  (Pause)  How  is  the  Rossmore 
case  going? 

ROBERTS.  Not  so  well  as  it  might;  there's  a  lot 
of  maudlin  sympathy  for  the  Judge.  He's  a  pretty 
sick  man  and  the  papers  are  for  him,  unanimously ; 
one  or  two  of  the  Western  Senators  are  talking 
corporate  influence — and  trust  legislation — and 
when  it  comes  to  a  vote  the  matter  will  be  settled 
on  party  lines. 

RYDER.  That  means  that  Judge  Rossmore  will 
be  removed? 

ROBERTS.    Yes,  with  five  votes  to  spare. 

RYDER.  That's  not  enough,  there  must  be  at 
least  twenty;  let  there  be  no  blunders,  Roberts. 
(Enter  BAGLEY)  The  man  is  a  menace.  The  im 
peachment  must  go  through. 

BAGLEY.    Do  you  want  me,  sir? 

RYDER.  Yes,  Mr.  Bagley — (Business — look  at 
him — BAGLEY  is  afraid)  What  steamer  leaves  to 
morrow  for  England? 

BAGLEY.    To-morrow 

RYDER.    To-morrow 

BAGLEY.  Let  me  see,  White  Star,  North  Ger 
man  Lloyd,  and  I  think  the  Transatlantic. 

RYDER.    Have  you  any  preference? 

BAGLEY.    No  sir,  not  at  all. 


THE  LION  AND  THE  MOUSE.         61 

RYDER.  Then  you  go  abroad  on  one  of  these  ships 
to-night.  Your  things  will  be  packed  and  sent  to 
you  before  the  ship  sails  to-morrow. 

(SENATOR  crosses  R.  and  sits.) 

BAGLEY.  (Crosses  to  desk)  But  sir— I— I— I'm 
afraid 

RYDER.    I  observe  that,  your  hands  shake. 

BAGLEY.    No,  no — no — I  mean  I 

RYDER.    You  mean  you  have  other  engagements  ? 

BAGLEY.     Oh,  no — no — but 

RYDER.    No  other  engagements? 

BAGLEY.    No. 

RYDER.  None  at  eight  o'clock  to-morrow  morn 
ing? 

ROBERTS.     With  my  daughter? 

BAGLEY.  No — no — certainly  not — under  no  cir 
cumstances  with  your  daughter — the  idea 

RYDER.  (Rings  bell)  Perhaps  she  had  an  en 
gagement  with  you 

BAGLEY.  Let  me  see.  There  was  something 
said  about  an  early  morning  walk — a  constitutional. 

ROBERTS.    Oh,  an  appetizer. 

BAGLEY.  Yes,  an  appetizer,  I  recommended  it  as 
an  excellent  tonic — for  her  health — I  thought  she 
looked  quite  pale  and  er — I — 

(Enter  JORKINS.) 

RYDER.  Ask  Miss  Roberts  to  come  here,  I  want 
to  speak  to  her.  (Business  writes) 

JORKINS.    Yes — sir — (Exits  c.) 

ROBERTS.  So  you  thought  my  daughter  looked 
pale,  and  a  little  walk  at  eight  o'clock  in  the  morn 
ing  with  you  would  be  a  healthy  thing  for  her. 
Well,  it  may  be,  but  it  wouldn't  be  a  healthy  thing 
for  you. 

BAGLEY.     Not  with  me — oh,  dear  no — alone — I 


62         THE  LION  AND  THE  MOUSE. 

told  her  that  early  rising  is  conducive  to  rosy 
cheeks.  I  read  it  in  a  poem.  It  runs  something 
like  this;  not  exactly,  but  something. 

If  you  would  have  a  rosy  cheek, 
Then  you  the  rising  sun  must  seek. 

ROBERTS.    Your  cheeks  needs  no  roses. 

BAGLEY.    It's  one  by  the  minor  poets. 

ROBERTS.    Very  minor,  I  should  say. 

RYDER.  Then  your  plans  in  regard  to  Miss 
|Roberts  did  not  extend  further  than  an  early  morn 
ing  constitutional. 

BAGLEY.    (Goes  very  near  desk)    No  sir. 

ROBERTS.  You  never  proposed  to  run  away  with 
her • 

BAGLEY.     (Horrified)    Run  away  with  her? 

ROBERTS.    And  marry  her? 

BAGLEY.     (In  horror)     And  marry  her? 

ROBERTS.    Did  you  ever  make  love  to  her? 

BAGLEY.     (Aghast)     Make  love  to  her? 

ROBERTS.    Yes,  make  love  to  her— did  you? 

BAGLEY.  This  is  almost  a  personal  question-^ 
this  is  hardly  fair — Oh,  dear  what  shall  I  say 

(Enter  KATE  c.) 

KATE.  (To  RYDER)  Did  you  want  to  see  me? 
(To  SENATOR)  Father,  when  did  you  come  back? 
I  thought  you  were  in  Washington —  (Sees  BAG- 
LEY.  Realises  that  something  serious  has  happened. 
Realizes  that  she  is  found  out.  Then  looks  back  at 
her  father  and  MR.  RYDER;  then  at  BAGLEY;  then 
.back  at  her  father.  This  business  ad.  lib.) 

ROBERTS.    Well 

KATE.  Well — (Looks  down  on  floor  as  if  shy) 
I  suppose  he  has  told  you  everything. 

ROBERTS.    Yes,  everything 

(BAGLEY   about    to    speak    catches   RYDER'S   eyes 
and  subsides.) 


THE  LION  AND  THE  MOUSE.         63 

KATE.  (Laughs  nervously)  Well — (Looks  at 
father,  laughs  nervously,  but  does  not  smile) 

ROBERTS.    Have  you  anything  to  add? 

KATE.  (Shakes  her  head)  No— (Sighs)  It's 
all  true. 

ROBERTS.    What  is  true? 

KATE.  That  we  intended  to  run  away — and  get 
married — isn't  it?  Fitzroy.  (Pause) 

BAGLEY.    I — I  beg  you  will  not  refer  to  me. 

KATE.    Fitz! 

ROBERTS.  Never  mind  about  Fitz — I'll  attend  to 
Fitz  presently. 

BAGLEY.    I — I  assure  you. 

ROBERTS.  And  you  were  to  meet  him  at  eight 
o'clock  to-morrow  morning  for  the  express  pur 
pose  of  getting  married? 

KATE.  Since  Fitzroy  has  told  you  everything — • 
I — I  think  perhaps  we  had  better  ask  your  permis 
sion. 

ROBERTS.    My  permission  eh? 

KATE.    And  your  forgiveness. 

ROBERTS.  (Rises)  And  what  of  Jefferson 
Ryder? 

KATE.  One  can't  think  of  everybody  in  these 
matters.  Mr.  Bagley  will  explain,  that,  he  knows 
that  Jefferson  doesn't  care — Mr.  Bagley  will • 

RYDER.  Mr.  Bagley  leaves  for  England  to-night. 
I  am  afraid  he  will  have  no  time  to  explain  any 
thing. 

KATE.     England 

ROBERTS.  Ah, — that  settles  it — (Crosses  to  c. 
and  takes  KATE'S  arm)  Get  your  things  on  and 
prepare  to  go  to  Washington  with  me  early  to 
morrow  morning. 

KATE.     Washington  ? 

ROBERTS.  Yes,  Washington — for  an  early  morn 
ing  constitutional.  (To  BAGLEY)  Bon  voyage— 
Mr.  Bagley — (Taking  her  out)  Come  Kate. 


64         THE  LION  AND  THE  MOUSE. 

KATE.  I  don't  want  to  go  to  Washington.  Never 
mind  Fitz.  You  know  where  to  write.  Father,  I 
think  you're  very  unkind.  I  won't  go — I  won't  go 
— (Tries  to  release  her  arm — but  cannot — Exit 
with  SENATOR) 

RYDER.  (Hands  letter  to  BAGLEY)  Your  in 
structions  sir,  to  be  opened  when  you  arrive  in 
England  ? 

(Enter  JEFFERSON  c.    He  is  quite  excited.) 

BAGLEY.  (Completely  non-plussed — knocked 
out)  I— I 

RYDER.    Good  night,  sir.    Well,  Jeff. 

BAGLEY.  (Brace  up  as  if  to  speak — with  posi 
tive  emphasis)  Sir — I — (Catches  RYDER'S  eye. 
RYDER  rises)  Yes — sir — good  night,  sir — good 
night,  sir — (At  door  exit  c.) 

JEFFERSON.    Now  then,  Father. 

RYDER.    Let's  go  into  the  ballroom. 

JEFFERSON.  Don't  turn  down  the  light,  Father.  I 
want  to  talk  to  you. 

RYDER.  (Down  to  end  of  desk)  My  dear  boy, 
your  errand  is  written  all  over  your  face.  You 
wish  to  know  who  has  dared  to  spread  the  report 
that  your  marriage  is  to  take  place  in  a  month 
from  to-day. 

JEFFERSON.  I  have  no  need  to  ask,  Father.  I 
know  your  methods.  I  am  not  going  to  call  your 
attention  to  the  absurdity  of  attempting  to  in 
fluence  me  in  the  choice  of  a  wife  by  such  means,  but 
I  demand  that  these  blows  in  the  dark,  these  polit 
ical  moves,  come  to  an  end.  They're  unfair  to  me, 
they're  brutally  unkind  to  Kate  and  they're  un 
worthy  of  you. 

RYDER.  How  dare  you  presume  to  criticise  my 
actions?  (Puts  down  cigar) 

JEFFERSON.  You  have  forced  me  to  dp  so,  not 
only  do  I  refuse  to  carry  out  your  plans  in  regard 


THE  LION  AND  THE  MOUSE.         65 

to  Kate  Roberts,  but  I  intend  to  marry  Miss  Ross- 
more  as  soon  as  she  will  consent  to  become  my 
wife.  (Looks  at  father  who  looks  at  him  but  does 
not  answer)  She  is  acquainted  with  all  the  cir 
cumstances  of  my  so  called  engagement  to  Kate, 
and  if  I  can  succeed  in  overcoming  her  prejudices 
to  my  family — (RYDER  laughs) — to  you — we've 
tried  the  poor  girl  pretty  sorely,  Father,  you  and  I 
— you,  with  your  deadly  hatred  and  persecution  of 
her  father,  and  I  with  this  trumpery  pretence  of  an 
engagement  with  Kate  Roberts,  cowardly  fear  of 
your  displeasure,  but  I  am  afraid  no  longer,  and  I 
tell  you  openly,  finally,  that  I  intend  to  make 
Miss  Rossmore  my  wife — (Pause — looks  at  RYDER 
—RYDER  makes  no  reply.  Weakening  a  little) 
You've  forced  me  to — to  defy  you,  Father — I'm — 
I'm  sorry. 

RYDER.  (With  much  self-control)  All  right 
Jeff,  my  boy,  you're  sorry  so  am  I.  You've  shown 
me  your  cards,  and  I'll  show  you  mine-.  (Sits  L. 
with  bitter  hatred)  When  I  get  through  with 
Judge  Rossmore  at  Washington,  I'll  start  on  his 
daughter.  This  time  to-morrow  he'll  be  a  dis 
graced  man,  and  in  a  week  she'll  be  a  notorious  wo 
man. 

JEFFERSON.    Father ! 

RYDER.  There  is  sure  to  be  something  in  her  life 
that  won't  bear  inspection.  There  is  in  every 
body's  life — I'll  find  out  what  it  is.  (JEFFERSON 
stands  as  if  unable  to  answer)  Where  is  she  now? 
She  can't  be  found.  No  one  knows  where  she  is; 
not  even  her  own  mother.  Something  is  wrong. 
The  woman  is  hiding.  What — what  is  she  hiding 

(JEFFERSON  goes  to  door  c.    Pause — silence.) 
JEFFERSON.    Why  she- 


RYDER.    Well,  that  is  all? 
JEFFERSON.    That's  all — (Exits  c.) 


66        THE  LION  AND  THE  MOUSE 

RYDER.  Leave  your  address  with  your  mother-* 
(Tries  to  read — then  bangs  fist  on  desk) 

SHIRLEY.    (Enter)    May  I  come  in,  Mr.  Ryder? 

RYDER.    Yes,  come  in. 

SHIRLEY.  (In  a  low  voice)  I  want  to  see  you 
on  a — very  important  matter.  I've  been  waiting 
to  see  you  all  evening,  but  I  shall  only  be  here  a 
few  days  longer — I — (With  emotion)  I  want  to 
ask  you  a  great  favor,  perhaps  the  greatest  you 
were  ever  asked.  (As  if  afraid)  I  want  to  ask 
you  for  mercy — for  mercy  to — (Turns  to  him  sees 
that  he  is  preoccupied)  Mr.  Ryder? 

RYDER.  (As  if  awakening  out  of  a  dream)  Eh 
— forgive  me,  I  didn't  quite  catch  what  you  were 
saying.  (Pause)  For  the  first  time  in  my  life  I 
am  face  to  face  with  defeat — defeat  of  the  most 
ignominious  kind — incapacity — inability — to  reg 
ulate  my  domestic  affairs.  I  can  rule  a  govern 
ment,  but  I  can't  guide  my  own  family,  my  own 
son.  (Enraged)  I  am  a  failure — a  failure — sit 
down — (She  sits)  Why,  why  can't  I  rule  my  own 
household — why  can't  I  govern  my  own  son? 

SHIRLEY.     Why  can't  you  govern  yourself 

RYDER.  Now,  you  can  help  me  by  not  preach 
ing.  This  is  the  first  time  in  my  life  I  ever  called 
on  a  living  soul  for  help.  I'm  only  accustomed  to 
deal  with  men.  This  time  there's  a  woman  in  the 
case,  and  I  need  your  woman's  wit. 

SHIRLEY.    How  can  I  help  you? 

RYDER.  (With  suppressed  excitement)  I  don't 
know.  As  I  told  you  I'm  against  a  blank  wall — a 
blind  alley.  I  can't  see  my  way.  I'm  ashamed  of 
myself,  ashamed.  Did  vou  ever  hear  the  fable  of 
"  The  Lion  and  The  Mouse."  Well,  I  want  you  to 
gnaw  with  your  sharp  woman's  teeth  at  the  cords 
which  bind  my  son  to  this  Rossmore  woman?  I 
want  you  to  be  the  mouse.  Set  me  free  of  this  dis 
graceful  entanglement. 

SHIRLEY.    How  ? 


THE  LION  AND  THE  MOUSE.         67 

RYDER.  Ah — that's  it,  how?  Can't  you  think. 
You're  a  woman !  You  have  youth,  beauty —  bril 
liancy — and — (Suddenly,  as  if  struck  with  an  in 
spiration,  looks  at  her)  By  George,  I  have  it! 
Marry  him  yourself.  Kate  Roberts  can't  hold  him ; 
she  hasn't  the  mentality  you  have,  if  you  can  force 
him  to  let  go  of  this  woman.  Why  not?  His 
mother  once  told  me  you  had  great  influence  over 
the  boy.  At  one  time  she  actually  thought  it  was 
your  influence  that  kept  him  here.  (Pause— 
SHIRLEY  looks  at  him,  but  cannot  answer)  Come 
what  do  you  say  ? 

SHIRLEY.  You — you  must  give  me  time  to  think 
— time — to — I — I — (Posses  her  hand  over  her  face 
as  if  thinking)  Suppose  I  don't  love  your  son, — I 
should  want  something — something  to 

RYDER.  The  boy  will  inherit  millions — I  don't 
know  how  many. 

SHIRLEY.  (Sits)  No — no — not  money — it's — • 
it's  something  else — man's  honor — a  man's  life — • 
it  means  nothing  to  you.  (Aside  quickly) 

RYDER.  You  can  win  him,  if  you  make  up  your 
mind  to.  A  woman  with  your  resources  can  blind 
him  to  any  other  woman.  Come,  you  have  light 
enough  to  attract  a  moth  of  Jefferson's  calibre. 
I'll  temporize  with  him;  get  him  to  stay  a  few 
weeks  longer,  and  by  then  you'll  have  him  caught. 

SHIRLEY.  But  if  he  loves  Judge  Rossmore's 
daughter  ? 

RYDER.  It's  for  you  to  make  him  forget  her — 
and  you  can 

SHIRLEY.  But  Kate  Roberts,  she — she  loves 
him 

RYDER.  Kate  Roberts  is  playing  fool  with  some 
one  else.  My  only  desire  is  to  separate  him  from 
this  Rossmore  gi  1,  at  any  cost.  You  must  help  me. 
(His  sternness  relaxes  somewhat)  Do  you  know 
that  I  shall  almost  be  glad  to  think  that  you  won't 
have  to  leave  me.  You  hr.ve  been  here  nearly  eight 


68         THE  LION  AND  THE  MOUSE. 

weeks.  Mrs.  Ryder  is  quite  taken  with  you,  and  I 
— (His  eyes  rest  on  her  kindly)  I  shall  miss  you 
when  you  go. 

SHIRLEY.  You  ask  me  to  be  your  son's  wife,  and 
you  know  nothing  of  my  family  ? 

RYDER.     I  know  you. 

SHIRLEY.  No — no — you  don't,  nor  do  you  know 
your  son.  He  has  more  constancy — more  strength 
of  character  than  you  think  and 

RYDER.     So  much  the  greator  victory   for  you 


SHIRLEY.     Ah,  don't  you  love  your  son? 

RYDER.  That's  where  you  are  mistaken.  I  do 
love  him  and  it's  because  I  love  him  that  I'm  such 
a  fool  in  this  matter.  Don't  you  see  if  he  marries 
this  girl,  it  would  separate  us ;  and  I  should  lose 
him.  I  don't  want  to  lose  him.  If  I  welcome  her 
to  my  home  it  would  make  me  the  laughing  stock 
of  all  my  friends  and  business  associates.  I  should 
have  to  welcome  her  father,  the  very  man  who — • 
ah — it  would  be  beyond  words.  (SHIRLEY  looks 
at  him,  shakes  her  head}  Come  what  do  you  say? 
(Telephone  rings — RYDER  goes  to  desk) 

SHIRLEY.  (Aside)  What  shall  I  do- — what 
shall  I  say?  (Crosses  c.) 

RYDER.  (Rings  bell)  Judge  Stott — no — - 
(Pause)  Waiting  over  an  hour — (Pause)  In 
sists,  does  he?  Well,  if  he  refuses  to  go,  have 
him  put  out.  (Pause)  Life,  and  death.  What's 
that  to  do  with  me.  Tell  him 

SHIRLEY.  (Crosses  to  table)  One  moment. 
You  must  see  him,  Mr.  Ryder.  I  know  who  he  is. 
Your  son  has  told  me. 

RYDER.    Wait  a  moment. 

SHIRLEY.  Judge  Stott  is  one  of  Judge  Ross- 
more's  advisers.  See  him ;  you  may  find  out  some 
thing  about  the  girl,  you  may  find  out  where  she 
is.  Don't  you  see  you  must  see  him.  If  Jefferson 
finds  out  you  have  refused  to  see  her  father's 


THE  LION  AND  THE  MOUSE.         69 

friend  on  a  matter  of  life  and  death;  it  will  only 
make  him  sympathize  more  deeply  with  the  Ross- 
more,  and  you  know  sympathy  is  akin  to  love  and 
that's  what  you  want  to  avoid,  isn't  it  ? 

RYDER.  (Hesitates)  Upon  my  word,  you  may 
be  right  yet. 

SHIRLEY.  (Lightly)  Am  I  to  help  you  or  not? 
You  said  you  wanted  a  woman's  wit. 

RYDER.    Yes— but  still. 

SHIRLEY.     Then  you'd  better  see  him. 

RYDER.  (At  phone)  Hello,  is  that  you  Jepson? 
Send  Judge  Stott  up.  (Throws  phone  on  table. 
To  SHIRLEY)  That's  one  thing  I  don't  like  about 
you.  I  allow  you  to  decide  against  me — and  then  I 
agree  with  you.  (Looks  at  her  admiringly)  I'll 
predict  that  you  will  bring  that  boy  to  your  feet 
within  a  month.  Somehow  I  feel  that  he  is  at 
tracted  to  you  already.  Thank  heavens,  you  haven't 
a  lot  of  troublesome  relatives.  I  think  you  said  you 
were  almost  alone  in  the  world.  Don't  look  so 
serious,  after  all  Jeff  is  a  fine  fellow,  and  believe 
me,  quite  an  excellent  catch,  as  the  world  goes. 

SHIRLEY.  Oh,  don't — don't  please — my  position 
is  so  false,  you  don't  know  how  false  it  is.  (Crosses 
R.) 

(Enter  JUDGE  STOTT  c.  Preceded  by  JORKINS, 
STOTT  looks  at  SHIRLEY,  but  doesn't  indicate 
that  he  knows  her,  as  RYDER  turns  SHIRLEY 
signals  STOTT  to  speak.  RYDER  waves  secretary 
to  go.  SECRETARY  exits.) 

JORKINS.    Judge  Stott,  sir. 
SHIRLEY.     Perhaps  I'd  better  go. 
RYDER.     No,  Judge  Stott  will  detain  me  but  a 
very  few  moments. 

(SHIRLEY  sits  R.  c.,  listens  intently.  Her  anxiety  is 
obvious  to  the  audience.  Not  to  RYDER.) 


70         THE  LION  AND  THE  MOUSE. 

STOTT.  (c.)  I  must  apologize  for  intruding  at 
this  unseemly  hour,  sir,  but  time  is  precious.  The 
Senate  meets  to-morrow  to  vote,  and  if  anything  is 
to  be  done  for  Judge  Rossmore,  it  must  be  done  to 
night. 

RYDER,  (c.)  I  fail  to  see  why  you  address 
yourself  to  me  in  this  manner,  sir. 

STOTT.  As  Judge  Rossmore's  friend  and  coun 
sel,  sir,  I  am  impelled  to  ask  your  help  at  this  crit 
ical  moment. 

RYDER.  The  matter  is  in  the  hands  of  the  United 
States  Senate,  sir. 

STOTT.  They  are  against  him.  -Not  one  Senator 
I  have  spoken  to  holds  out  any  hope  for  ,him.  If 
he  is  impeached  it  will  mean  his  death.  Inch  by 
inch  his  life  is  leaving  him.  The  only  thing  that 
can  save  him  is  the  good  news  of  the  Senate's  re 
fusal  to  impeach  him. 

RYDER.    I  can  do  nothing,  sir. 

STOTT.  As  I  understand  they  will  vote  on 
strictly  party  lines,  and  the  party  in  power  is 
against  him.  He's  a  marked  man.  You — you — 
have  the  power  to  help  him — you — (RYDER  makes 
a  gesture  of  impatience)  When  I  left  his  bedside 
to-night — I  promised  to  return  to  him  with  good 
news.  I  have  told  him  that  the  Senate  ridicules 
the  charges  against  him ;  I  must  return  with  good 
news.  He  is  very  ill  to-night,  sir.  (Meaningly  to 
SHIRLEY)  If  he  gets  much  worse  we  shall  send 
for  his  daughter. 

SHIRLEY.  (Aside)  Father!  (SHIRLEY  busi 
ness) 

RYDER.     His ^ daughter — where  is  his  daughter? 

STOTT.     She  is  trying  to  save  her  father. 

(SHIRLEY  nods  affirmatively.) 

RYDER.  (Crosses  to  STOTT)  You  didn't  come 
he*-e  to-night  merely  to  tell  me  this. 


THE  LION  AND  THE  MOUSE.         71 

STOTT.  No,  sir.  (Business  with  letters  he  takes 
out  of  his  pocket)  These  letters  from  Judge  Ross- 
more  to  you  show  you  are  acquainted  with  the  fact 
that  he  bought  these  shares  as  an  investment,  and 
did  not  receive  them  as  a  bribe. 

RYDER.  (Looks  at  letters  over  STOTT'S  shoulder, 
leaves  him,  and  then  opens  drawer  L.,  looks  for 
papers,  then  speaks)  Why  don't  you  produce  them 
before  the  Senate  ? 

STOTT.  I  tried  too  but  it  was  too  late.  The  case 
was  closed  and  could  not  be  re-opened.  ( SHIRLEY 
business)  I  only  received  them  last  night,  but  if 
you  come  forward  and  declare 

RYDER.    I  can  do  nothing  in  the  matter,  sir. 

STOTT.  Then  I  shall  publish  them  in  every  news 
paper  in  the  United  States. 

RYDER.  Do  as  you  please.  That  will  not  effect 
the  issue.  (Looks  at  letters)  The  Judge  writes 
to  ask  the  values  of  the  shares  as  an  investment. 
That  doesn't  prove  that  he  did  invest  in  them,  or 
account  for  all  the  stock  he  had  in  his  possession, 
in  fact  it  proves  nothing,  you  are  a  lawyer,  you 
ought  to  know  that. 

STOTT.  It  proves  you  to  be  a  basis  of  conspiracy 
to  put  Judge  Rossmore  off  the  bench.  If  we  can 
not  prove  it  legally  we  can  morally  and  I  shall 
publish  these  letters. 

RYDER.  Publish  them  by  all  means — I  have  been 
attacked  by  the  papers  before,  and  I  guess  I  can 
stand  it  again,  keep  them,  I  don't  want  them. 
(Crosses  to  desk)  You  don't  suppose  that  if  they 
had  been  of  any  value,  I  should  have  left  them 
around,  do  you?  And  now,  sir,  I  wish  to  know 
how  it  comes  that  you  have  in  your  possession 
private  correspondence  addressed  to  me. 

STOTT.     That  I  cannot  answer. 

RYDER.  From  whom  did  you  receive  these  let 
ters? 


72         THE  LION  AND  THE  MOUSE. 
{Bus. — SHIRLEY  clutches  chair  as  if  afraid.) 

STOTT.    I  must  decline  to  answer. 

SHIRLEY.  (Rises  about  to  speak.  Both  RYDER 
and  STOTT  look  at  her)  I  wish  to  make  a  state 
ment. 

STOTT.  (Anticipates  her)  Judge  Rossmore's 
life  and  honor  are  at  stake,  and  no  false  sense  of 
delicacy  must  cause  the  failure  of  my  object  to  save 
him.  I  must  decline  to  answer. 

RYDER.  (Furiously  rings  bell)  Do  you  suppose 
I  don't  know  who  sent  them ;  do  you  suppose  that 
I  don't  know  that  this  man,  this  Judge,  whose 
honor  is  at  stake,  and  his  daughter — who  most 
likely  has  no  honor  at  stake — between  them  have 
made  a  liar  and  thief  of  my  son!  False  to  his 
father,  false  to  his  fiance,  and  you,  sir,  have  the 
presumption  to  come  here  and  ask  me  to  intercede 
for  this  man.  (Enter  JORKINS  c.)  Ask  Mr.  Jef 
ferson  to  come  here  at  once. 

JORKINS.    Yes  sir.    (Exit  c.) 

(STOTT  in  whisper.     Looks  at  SHIRLEY  quickly.) 

RYDER.  And  now,  sir,  I  think  nothing  remains 
to  be  said. 

STOTT.  As  you  please.  Good-night.  (Goes  up, 
turns  and  looks  at  SHIRLEY  and  exits  c.) 

RYDER.  Good  night.  (To  SHIRLEY)  Now  you 
see  what  she  has  done  to  my  son.  (Crosses  c.  and 
then  up  and  dozvn) 

SHIRLEY.  Yes,  it's  the  girl's  fault.  (R.  c.)  Oh, 
you  must  make  allowances  for  him.  One's  sym 
pathy  gets  aroused  in  spite  of  one's  self.  Even  I 
feel  sorry  for  these  people. 

RYDER.  (Crosses  to  L.)  Don't — sympathy  is 
weakness. 

(Enter  JEFFERSON  c.) 

JEFFERSON,     (c.)     You  sent  for  me,  Father? 


THE  LION  AND  THE  MOUSE.         73 

RYDER.  (L.)  What  of  the  letters  in  this 
drawer  ? 

JEFFERSON.    What  letters? 

RYDER.  The  letters  that  were  in  the  left  hand 
corner  drawer. 

JEFFERSON.    Why — I — I 

RYDER.    You  took  them? 

JEFFERSON.    Yes. 

RYDER.    And  sent  them  to  Judge  Stott? 

JEFFERSON.    Yes. 

RYDER.  (SHIRLEY  starts)  As  I  thought.  You 
deliberately  sacrificed  my  interests  to  save  this  wo 
man's  father,  you  hear  him;  Miss  Green.  (With 
great  self-control)  Jefferson,  I  think  it's  time  that 
you  and  I  had  a  final  accounting.  (SHIRLEY 
starts  up)  Please  don't  go  Miss  Green.  As  the 
writer  of  my  autobigraphy  you  are  sufficiently  ac 
quainted  with  my  family  affairs  to  warrant  you 
being  present  at  the  epilogue.  Besides  I  want  an 
excuse  for  keeping  my  temper.  For  your  mother's 
sake,  boy,  I  have  overlooked  your  little  eccentric 
ities  of  character.  We  have  arrived  at  the  parting 
of  the  way ;  you  have  gone  too  far.  The  one  aspect 
of  this  business  I  cannot  overlook  is  your  willing 
ness  to  sell  your  own  father  for  the  sake  of  a  wo 
man. 

JEFFERSON.  My  father  wouldn't  hesitate  to  sell 
me  if  his  business  and  political  interests  warranted 
the  sacrifice. 

SHIRLEY.  Ah,  please  don't  say  those  things  Mr. 
Jefferson.  I  don't  think  he  quite  understands  you, 
Mr.  Ryder,  and  if  you  will  pardon  me,  I  don't  think 
you  quite  understand  him.  Do  you  realize  that 
there  is  a  man's  life  at  stake — that  Judge  Rossmore 
is  almost  at  the  point  of  death — And  that  favorable 
news  from  the  Senate  Chamber  to-morrow — is 
perhaps  the  only  thing  that  can  save  him? 

RYDER.  (Sits)  Judge  Stott's  story  has  quite 
aroused  your  sympathy 


74         THE  LION  AND  THE  MOUSE. 

SHIRLEY.  Yes — I — I  must  confess  my  sympathy 
is  aroused.  I  do  feel  for  this  father  whose  life  is 
slowly  ebbing  away ;  whose  strength  is  being  sapped 
daily,  hourly,  by  the  thought  of  his  disgrace,  the 
injustice  that  is  being  done  him.  I  do  feel  for  the 
wife  of  this  suffering  man. 

RYDER.  Now,  we  have  a  complete  picture,  the 
dying  father,  the  sorrowing  wife — and  the  daugh 
ter — what  is  she  supposed  to  be  doing? 

SHIRLEY.  (With  meaning)  She  is  fighting 
for  her  father's  life — and  you — (To  JEFFERSON) 
should  have  pleaded — pleaded — not  demanded. 
It's  no  use  trying  to  combat  your  father's  will. 

JEFFERSON.  She  is  quite  right,  Father.  I  should 
have  implored  you.  I  do  so  now.  I  ask  you,  for 
God's  sake  to  help  me. 

RYDER.  (Sees  his  son's  attitude  change — for  a 
moment,  pauses,  rises')  His  removal  is  a  political 
necessity.  If  this  man  goes  back  on  the  bench 
every  paltry  Justice  of  the  Peace,  every  petty 
official  will  think  he  has  a  special  mission  to  tear 
down  the  structure  that  hard  work  and  capital  has 
erected.  No,  this  man  has  been  especially  conspicu 
ous  in  his  efforts  to  block  the  progress  of  amal 
gamated  interests. 

SHIRLEY.    And  so  he  must  die. 

RYDER.  He  is  an  old  man,  he  is  one,  we  are 
many.  (Dozvn  to  end  of  desk) 

JEFFERSON.  He  is  innocent  of  the  charge 
brought  against  him. 

SHIRLEY.  Mr.  Ryder  is  not  considering  this 
point.  All  he  can  see  is  that  it  is  necessary  to  put 
this  poor  man  in  the  public  pillory  to  set  him  up  as 
a  warning  to  others  of  his  class,  not  to  act  in  ac 
cordance  with  the  principles  of  the  truth,  and  jus 
tice,  not  dare  obstuct  the  car  of  Juggernaut  set  in 
motion  by  the  money  gods  of  the  world. 

RYDER.    Survival  of  the  fittest,  my  dear. 


THE  LION  AND  THE  MOUSE.         75 

SHIRLEY.  Oh,  use  your  great  influence  with  this 
governing  body  for  good. 

RYDER.  (Moving)  By  George,  Jefferson — I 
give  you  credit  for  having  received  an  excellent  ad 
vocate. 

SHIRLEY.  Suppose — suppose — this  daughter — 
promised  that  she  will  never — never  see  your  son 
again ;  that  she  will  go  away  to  some  foreign  coun 
try. 

JEFFERSON.  No,  why  should  she.  If  my  father 
isn't  man  enough  to  do  a  simple  act  of  Justice  with 
out  bartering  a  woman's  happiness,  his  son's  happi 
ness — let  him  rot  in  his  own  self  justification. 
(Looks  up  stage.  SHIRLEY  goes  up  stage  as  if 
overcome) 

RYDER.  (Crosses  to  JEFFERSON)  Jefferson,  my 
boy,  you  see  how  this  girl  pleads  your  case  for  you ; 
she  loves  you.  (Bus.  JEFFERSON)  Believe  me  she 
does — she's  worth  a  thousand  of  the  other  woman. 
Make  her  your  wife  and  I  will  do  anything  you  ask. 

JEFFERSON.  Make  her  my  wife?  (Turning  to 
control  himself — cannot  believe  his  ears — conceals 
his  joy)  Make — her — my  wife. 

RYDER.    Come,  what  do  you  say? 

JEFFERSON.  Yes — yes — (Unable  to  speak — sees 
that  he  will  betray  himself)  I  cannot  ask  her  now, 
Father — sometime  later. 

RYDER.  No — to-night  at  once.  (Crosses  up  L. 
c.  JEFFERSON  turns,  looks  at  father)  Miss  Green, 
my  son  is  much  affected  by  your  disinterested  ap 
peal  in  his  behalf — he — he — you  can  save  him  from 
himself — My  son — wishes — you — he — asks  you  to 
be  his  wife — is  it  not  so,  Jefferson? 

JEFFERSON.  Yes — yes — my  wife — (Laughs 
hysterically) 

SHIRLEY.  Oh — no — no — Mr.  Ryder  I  cannot. 
(Comes  down  c.)  I — I  can't. 

RYDER.  (Appealingly)  Why  not— ah,  don't— 
decide  hastily — (Down  to  her  L.  c.) 


76         THE  LION  AND  THE  MOUSE. 

SHIRLEY.  (Down)  I  cannot  marry  your  son 
with  these  lies  upon  my  lips.  I  cannot  go  on  with 
this  deception.  I  told  you — you  did  not  know  who 
I  was,  who  my  people  were.  My  story  about  them, 
my  name,  everything  about  me  is  false.  Every 
word  I  have  uttered  is  a  lie,  a  fraud,  a  deception.  I 
wouldn't  tell  you  now,  but  you  trusted  me.  And 
are  willing  to  entrust  your  son's  future  in  my  keep 
ing — but  I  can't  keep  back  the  truth  from  you. 
(JEFFERSON  business)  Mr.  Ryder  I  am  the  daugh 
ter  of  the  man  you  hate.  I  am  the  woman  your 
son  loves.  'Twas  I  who  took  the  letters  and  sent 
them  to  Judge  Stott.  I  am  Shirley  Rossmore. 

RYDER.    You?    (Turns) 

SHIRLEY.  Yes,  yes,  I  am.  Now  listen  to  me. 
Mr.  Ryder.  (RYDER  turns  away)  Don't  turn 
away  from  me.  Go  to  Washington  on  behalf  of  my 
father  and  I  promise  you  I  will  never  see  your  son 
again.  Never,  never. 

JEFFERSON.    Shirley ! 

SHIRLEY.    Jeff,  forgive  me,  my  father's  life. 

JEFFERSON.    You  are  sacrificing  our  happiness. 

SHIRLEY.  No  happiness  can  be  built  on  lies. 
We  have  deceived  your  father.  But  he  will  for 
give  that,  won't  you,  and  you  will  go  to  Washing 
ton.  You  will  save  my  father's  honor,  his  life. 
You  will — you  will. 

RYDER.  (Turns  on)  No — no — I  will  not.  You 
have  wormed  yourself  into  my  confidence  by  means 
of  lies  and  deceit.  You  have  tricked  me,  fooled 
me  to  the  very  limit.  Oh,  it's  easy  to  see  how  you 
have  beguiled  my  son  into  the  folly  of  loving  you. 
And  you  have  the  brazen  effrontery  to  come  here 
and  ask  me  to  plead  for  your  father?  No,  no,  let 
the  law  take  its  course.  And  now,  Miss  Rossmore 
will  you  please  leave  my  house  to-morrow  morning. 
(Crosses  to  lower  end  of  desk) 

SHIRLEY.  (JEFFERSON  moves  back  of  chair. 
SHIRLEY  turns  to  him  in  fury)  I  will  leave  your 


THE  LION  AND  THE  MOUSE.         77 

house,  to-night.  Do  you  think  I  would  remain  an 
other  hour  beneath  the  roof  of  a  man  who  is  as  blind 
to  justice,  as  deaf  to  mercy,  as  incapable  of  human 
sympathy  as  you  are? 

RYDER.    Leave  the  room.     (L.  of  desk) 

JEFFERSON.    Father! 

RYDER.  You  have  tricked  him  as  you  have 
tricked  me. 

SHIRLEY.  It  is  your  own  vanity  that  has  tricked 
you.  You  lay  traps  for  yourself  and  walk  into 
them.  You  compel  everyone  around  you  to  lie  to 
you ;  to  cajole,  to  praise,  to  deceive  you,  at  least 
you  cannot  accuse  me  of  flattering  you.  I  have 
never  fawned  upon  you  as  you  compel  your  family, 
your  friends,  your  dependents  to  do. 

RYDER.     (Controls  self  with  difficulty)     Please 

go- 

JEFFERSON.     Yes — let  us  go  Shirley.     (Goes  to- 

ivard  SHIRLEY) 

SHIRLEY.  No,  Jeff,  I  came  here  alone,  and  I'm 
going  alone. 

JEFFERSON.  No,  you  are  not.  I  intend  to  make 
you  my  wife. 

SHIRLEY.  No.  Do  you  think  I  could  marry  a 
man  whose  father  is  as  deep  a  discredit  to  the  hu 
man  race  as  your  father  is.  No,  I  couldn't  Jeff. 
I  couldn't  marry  the  son  of  such  a  merciless  tyrant. 
(RYDER  sits)  He  refuses  to  lift  his  voice  to  save 
my  father.  I  refuse  to  marry  his  son.  (Crosses  to 
desk)  You  think  if  you  lived  in  the  olden  days — 
(RYDER  -is  dumbfounded) — you'd  be  a  Caesar  or 
an  Alexander,  but  you  wouldn't — You'd  be  a  Nero 
— a  Nero — sink  my  self-respect  to  the  extent  of 
marrying1  into  your  family.  Never.  I  am  going 
to  Washington  without  your  aid.  T  am  going  to 
my  father  if  I  have  to  go  on  my  knees  to  every 
United  States  Senator  at  the  Capitol.  I'll  go  to 
the  White  House.  I'll  tell  the  President  what  you 
are.  Marry  your  son,  indeed!  Marry  your  son! 


78         THE  LION  AND  THE  MOUSE. 

No  thank  you  Mr.  Ryder.     (Exit  hastily  as  cur 
tain  is  falling) 

(RYDER  looks  at  son,  he  is  literally  "out") 
CURTAIN. 


ACT  IV. 

SCENE: — SHIRLEY'S  suite  in  the  RYDER  Establish- 

ment. 

TIME: — Seven  A.  M.  the  next  morning. 

(As  the  curtain  rises  it  is  still  dark.  Enter  maid 
D.  R.  with  tray  on  which  is  pot  of  tea,  etc. 
She  knocks  on  door,  D.  L.,  waits  for  an  an 
swer.) 

MAID.    Seven  o'clock,  Miss. 

SHIRLEY.     (Off  stage)    All  right 

MAID.    Shall  I  bring  your  tea  in,  Miss? 

(Enter  SHIRLEY,  D.  L.) 

SHIRLEY.    No,  thank  you,  I'll  drink  it  in  here. 

MAID.    Why  you  haven't  been  to  bed,  Miss. 

SHIRLEY.  No,  I  couldn't  sleep,  Thurza.  I  was 
too  anxious,  I  would  have  left  here  last  night,  if  I 
could  have  gotten  away,  so — (Bits,  pours  tea)  I 
must  catch  that  early  train  to  Washington,  if  I 
missed  it,  I — I  dare  not  think  what  would  happen. 

MAID.  But  I  promised  to  call  you  in  time,  Miss 
— (Crosses  to  L.  c.) 

SHIRLEY.  Yes — yes,  I  know  but — (Bus.  drink 
ing  tea)  I  didn't  finish  packing  until  nearly  five; 
it  was  hardly  worth  while  going  to  bed.  Besides 


THE  LION  AND  THE  MOUSE.         79 

I  was  too  tired  to  sleep.  I  just  sat  and  thought — 
and  thought.  (Business) 

MAID.  (Pauses)  Can  I  do  anything  for  you, 
Miss? 

SHIRLEY.  (Starts  out  of  reverie)  No — there 
are  only  a  few  things  to  go  in  my  dress  suit  case. 
Have  a  cab  here  in  half  an  hour. 

MAID.  Yes,  Miss.  (Crosses  to  R.)  Oh,  Miss, 
Mr.  Jorkins  said  master  wants  to  see  you  as  soon 
as  you  finished  your  tea. 

SHIRLEY.    Mr.  Ryder?    Impossible. 

MAID.  (Shocked)  But  Miss?  (Pause)  Mr. 
Ryder  expects  you. 

SHIRLEY.  Please  give  Jorkins  my  message.  I 
cannot  see  Mr.  Ryder. 

(Knock  on  D.  R.    MAID  goes  to  door,  opens  it,  sees 
JORKINS.) 

MAID.  (Very  mysteriously)  He  is  here  now. 
Miss — (Enter  JORKINS  half  way — Bus.  JORKINS 
and  MAID)  Mr.  Ryder  is  waiting  to  see  you  down 
stairs. 

SHIRLEY.    Tell  Jorkins  to  come  in. 

(MAID    opens    door    wide,    deferentially.      Enter 
JORKINS  pompously.) 

JORKINS.    Yes,  Miss. 

SHIRLEY.  Please  inform  Mr.  Ryder  that  it  is 
impossible  for  me  to  see  him. 

(Business  JORKINS  tries  to  conceal  his  surprise.) 

JORKINS.    Yes,  Mi^s,  but,  Mr,  Ryder  desires 

SHIRLEY.  Please  deliver  my  answer  as  I  give 
it.  I  caimct  see  him. 

(JORKINS  raises  his  eyes  in  horror;  tries  to  speak, 
bows  and  exits.    MAID  gasping.) 


8o         THE  LION  AND  THE  MOUSE. 

SHIRLEY.  (Laughs)  Take  away  the  tray. 
(Rises)  I'll  finish  packing.  (Down  L.) 

(Enter  MRS.  RYDER  in  dressing  gown,  looks  as  if 
she  is  just  out  of  bed;  hurried;  she  is  badly 
made  up  and  rather  askew;  very  excited  and 
perturbed.) 

MRS.  RYDER.  My  dear  Miss  Green,  what  is  this 
I  hear — going  away  suddenly  without  giving  one 
moment's  warning? 

SHIRLEY.  (Smiling)  But  I  wasn't  engaged  in 
definitely. 

MRS.  RYDER.  I  know — I  know — I  was  thinking 
of  myself.  I've  grown  so  used  to  you,  how  shall  I 
get  on  without  you?  My  poor  nerves — no  one  un 
derstands  me  as  you  do.  Dear  me — (Sits,  R.  c.) 
The  whole  house  is  upset — Mr.  Ryder  never  went 
to  bed  at  all  last  night ;  he  sat  and  smoked  all  night 
in  the  library.  Jefferson  is  going  away  too — for 
ever,  he  says.  If  he  hadn't  come  and  woke  me  up 
to  say  good-bye,  I  should  have  never  known  that 
you  intended  to  leave  us.  I  call  it  downright  de 
sertion.  Do  change  your  mind,  dear — (SHIRLEY 
exits  end  comes  right  back.  MRS.  RYDER,  to  MAID 
— aside)  Tell  Mr.  Jefferson  to  come  up  at  once. 

MAID.  Yes,  Ma'am.  (Takes  tea  tray  and  exits 
D.  R.) 

SHIRLEY.    Did  your  son  tell  you  who  I  am? 

MRS.  RYDER.    No,  dear. 

SHIRLEY.  I  am  the  daughter  of  Judge  Ross- 
more. 

MRS.  RYDER.  My  dear,  that's  not  your  fault; 
you're  yourself — and  that's  the  main  thing.  I  half 
promised  that  I  would  ask  you  to  see  Jeff  before 
you  went ;  that  is  if  you  insist  on  going.  (Rises — • 
goes  up  stage  to  SHIRLEY) 

SHIRLEY.    It  is  better  that  I  did  not  see  him. 

MRS.  RYDER.     Ah,  but  you  don't  understand — • 


THE  LION  AND  THE  MOUSE.         8f 

Ryder,  but  for  Jefferson's  sake  I  must  tell  you,  and 
(Pauses)  My  dear  girl,  I  feel  like  a  traitor  to  Mr. 
you  will  take  his  mother's  word,  won't  you?  My 
dear,  he  never  cared  a  snap  of  his  finger  for  Kate 
Roberts. 

SHIRLEY.  I  know — it  isn't  that — didn't  he  tell 
you  that  Mr.  Ryder — and  my  father — (Exit  L. 
as  JEFFERSON  enters,  D.  R.) 

MRS.  RYDER.  Ah,  there  you  are,  Jefferson — 
come  in,  dear — she  is  waiting  to  see  you — I  think 
I've  put  everything  right  between  you.  (Turns 
and  sees  that  SHIRLEY  has  disappeared)  And  now 
I  must  go  back  to  bed.  I'm  nearly  dead  with  sleep. 
(Crosses  L.)  Your  father  must  never  know  that  I 
brought  you  two  together  (Goes  to  door — returns 
to  JEFFERSON)  Perhaps  he'd  better  not  know  that 
I've  been  here  at  all. 

(Enter  JORKINS,  D.  R.) 

JORKINS.  Mr.  Ryder's  compliments,  Madam,  he 
wished  to  see  you  in  the  library. 

MRS.  RYDER.  Oh,  dear,  you  see  he's  found  out 
already — oh,  what  a  man.  I  can't  come,  Jorkins,  I'm 
— I'm  in  bed  and  asleep.  I  mean — I  ought  to  be — 
I—  (Weakens)  I  think  I'd  better  go,  eh,  Jeff? 
Very  well,  Jorkins,  I'll  be  there  in  a  moment.  Now 
understand  I  have  not  brought  you  two  together 
again. 

JEFFERSON.  (Disappointed  at  SHIRLEY'S  ignor* 
ing  him)  No,  Mother,  I'm  afraid  you  have  not. 

MRS.  RYDER.  Why  don't  you  go,  Jorkins — oh, 
dear,  why  do  people  get  up  in  the  middle  of  the 
night.  (Exits  followed  by  JORKINS) 

(JEFFERSON  stands  disconsolately  watching  room 
L.  Enter  SHIRLEY  D.  L.  She  goes  over  to  the 
writing  desk.  Bus.  with  books.) 


82         THE  LION  AND  THE  MOUSE. 

JEFFERSON.  Mother  said  she  had  put  everything 
right  between  us,  but  I  am  afraid  she  was  mis 
taken. 

SHIRLEY.  Your  mother  does  not  understand, 
neither  do  you.  Nothing  can  be  put  right.  Noth 
ing  can  ever  be  right  again  in  this  world  for  me 
until  my  father  is  restored  to  honor  and  position. 

JEFFERSON.  I  say  that  as  sincerely  as  you  do. 
Nothing  can  ever  be  right  in  this  world  to  me  again 
until  your  father  is  restored  to  honor  and  position 
and  to  that  end  I  am  going  with  you  to  Washing 
ton. 

SHIRLEY.    No,  Jeff. 

JEFFERSON.  Shirley,  all  my  life  I  have  listened 
to  another  voice  than  my  own — now  I  am  listening 
to  the  promptings  of  my  own  heart,  my  own  con 
science.  I  know  that  my  father  was  instrumental 
in  placing  Judge  Rossmore  where  he  is  to-day. 
And  I  am  going  to  let  the  world  know  what  I  know. 

SHIRLEY.  Then  you  are  going  to  betray  your 
own  father !  Oh,  Jeff ! 

JEFFERSON.    I  am  going  to  speak  the  truth. 

SHIRLEY.  Yes,  but  you  are  doing  this  for  my 
sake — not  for  the  sake  of  the  truth — if  Judge 
Rossmore  were  not  my  father,  would  you  move  in 
his  behalf — would  you? 

JEFFERSON.  That  is  not  the  question — he  is  your 
father — and  I 

SHIRLEY.  But  I  can't  accept  such  a  sacrifice. 
It's  because  you  love  me  that  you  will  make  this 
move.  You'd  never  forgive  yourself.  You'd  never 
forgive.  Bitterly  as  Mr.  Ryder  hates  my  father, 
bitterly  as  he  hates  me  now — I  will  do  him  the  jus 
tice  to  recognize  his  love  for  you,  Jeff.  (JEFFER 
SON  sits  c.)  You  cannot  betray  the  father  who 
loves  you.  Ah,  it's  out  of  the  question.  When  I 
plead  for  my  father  in  Washington  I  must  do  so 
without  the  knowledge  that  I  have  influenced  you 
against  your  father.  No — somehow  or  other  the 


THE  LION  AND  THE  MOUSE.         83 

truth  will  come  out — I  feel  it.  I  know  it,  but  not 
through  you. 

JEFFERSON.  I  know  you  are  right,  Shirley,  but 
it's  all  against  my  feeling,  my  instincts.  I  don't 
want  to  betray  my  father  and  I  do  want  to  help 
you — am  I  always  to  be  cursed  with  indecision. 

SHIRLEY.     Let  me  decide  for  you — 

JEFFERSON.  It's  always  someone  else  who  de 
cides  for  me,  and  as  usual  I  obey — Oh,  what  must 
you  think  of  me — no  wonder  I  can't  win  your  love. 

SHIRLEY.  Jeff,  we  mustn't  speak  of  that  now — 
(Enter  RYDER) — until  this  matter  is  settled.  I  can 
never  see  you  or  your  father  again.  (Crosses 
dozvn  L.) 

JEFFERSON.    Why  do  you  always  associate  us? 

SHIRLEY.  He  is  your  father — he — (Sees  RYDER 
— picks  up  things  she  has  been  collecting  and  walks 
out  of  the  room  with  quiet  dignity) 

RYDER.  (Crosses  to  L.  c.)  Hum— I  rather 
thought  I  should  find  you  here,  but  I  didn't  quite 
expect  to  find  you,  so  to  speak,  on  your  knees,  drag 
ging  your  pride  in  the  mud. 

JEFFERSON.    It's  where  our  pride  ought  to  be. 

RYDER.     So  she  has  refused  you  again? 

JEFFERSON.  Yes,  she  still  objects  to  my  family. 
(Goes  up  stage) 

RYDER.  Your  family  in  general — me  in  partic 
ular,  yes  I  gleaned  that  much  as  I  came  in — (Looks 
at  door  L.)  She's  a  curious  girl,  with  curiously  in 
verted  ideas — I  must  see  her  before  she  goes — 
(Goes  to  door  L.  about  to  knock,  turns  to  JEFFER 
SON)  Do  you  mean  to  say  she  has  done  with  you 
— cut  all  ties  between  you? 

JEFFERSON.    Yes. 

RYDER.     Finally  ?    Forever  ? 

JEFFERSON.  Yes,  finally— forever.  (Crosses  un 
R.  c.) 

RYDER.  Does  she  mean  it?  (JEFFERSON 
nods  his  head)  Urn— it's  like  her,  just  like  her 


84         THE  LION  AND  THE  MOUSE. 

(Knocks  at  door)  Oh,  yes — it's  like  her— all 
right. 

SHIRLEY.     (Off  stage)    Who  is  it? 

RYDER.  (Abruptly)  I  wish  to  speak  to  you. 
(Looks  at  JEFFERSON)  In  my  library,  alone. 

SHIRLEY.  I  must  beg  you  to  excuse  me — I  can 
not  see  you. 

JEFFERSON.  Why  do  you  add  to  the  girl's  misery 
— hasn't  she  suffered  enough  already? 

RYDER.  (Crosses  to  c.)  Do  you  know  what  she 
has  done?  (JEFFERSON  .shakes  his  head)  She  has 
insulted  me  grossly.  (Angrily)  So  grossly  that  I 
— I — (Takes  out  check)  I  never  was  so  humiliated 
in  my  life.  She  has  returned  the  check  I  sent  her 
last  night  in  payment  of  her  work.  I  mean  to  make 
her  take  that  money ;  it's  hers — she  needs  it.  Her 
father's  a  beggar;  she  must  take  it — it's  only 
flaunting  her  contempt  for  me  in  my  face,  and  I 
won't  permit  it.  (Goes  up  stage  R.  stands  there — 
down  c  ) 

JEFFERSON.  Father,  you  are  as  incapable  of 
doing  that  girl  justice — as  I  am.  She  is  far  above 
our  conception  of  womanhood  as  good  is  above 
evil — not  five  minutes  ago  I  offered  to  go  with  her 
to  betray  you — and  she  refused — because — she  said 
that  you  loved  me,  and  that  she  could  not  bear  the 
thought  of  a  son  betraying  his  father — see  what 
your  selfishness  has  driven  me  to — see  what  you 
have  made  of  me — you  have  destroyed  me  as  you 
are  helping  to  destroy  our  national  integrity.  She 
showed  you  what  you  were  last  night,  she  showed 
me  what  I  was  to-day — you  were  right.  When  you 
said  that  I  would  sell  you  for  her,  I  would,  but  it's 
you  who  have  made  me  what  I  am.  Do  you  think 
she'll  ever  marry  me  now? 

RYDER.  Yes,  and  don't  be  a  damn  fool.  I  know 
a  woman  better  than  you  do.  Whatever  you  did, 
you  did  for  her  sake — well  that  settles  it — she  see* 


THE  LION  AND  THE  MOUSE.         85 

the  power  she  has.  Do  you  think  she'll  let  it  go 
now? 

JEFFERSON.  She  has  higher  instincts  than  ours.. 
Father,  she  doesn't  love  power. 

RYDER.  All  ri^li!; — grained  everything  you  say 
— she's  human — isn't  she, — well,  she'll  come  around 
— they  all  do. 

JEFFERSON.    But  her  father? 

RYDER.    He'll  be  all  right 

(Enter  ROBERTS  D.  R.) 

ROBERTS.  I  got  your  telephone  message — they 
said  that  you  were  up  her.  (He  sees  JEFFERSON) 

RYDER.    It's  all  right — he  knows. 

ROBERTS.  Ryder,  it  can't  be  done — we  can't  re 
treat  now — the  Rossmore  impeachment  must  go 
through 

RYDER.     (Roars)    What ! 

ROBERTS.  We- can't  march  up  a  hill  and  march 
down  again.  The  United  States  Senate  is  not  the 
King  of  France. 

RYDER.  Senator,  you  have  read  the  morning 
papers — well — (Bus.  with  papers)  They  roasted 
me  well — they've  accused  me  of  crime  in  all  the 
branches.  Rossmore's  friends  have  published  his 
letters— Oh,  it's  lovely!  (Up  stage) 

ROBERTS.  The  Rossmore  impeachment  must  go 
through, 

RYDER,  No — The  Senate  must  yield  to  public 
opinion. 

ROBERTS.  But  I  have  worked  for  it,  how  can  I 
work  against  it  now  ?  It  can't  be  done. 

JEFFERSON.    It  must  be  done. 

RYDER.  It  will  be  done.  If  every  Senator  has  to 
cat  his  own  speeches. 

ROBERTS.     I  don't  see 

RYDER.  ^  Well,  I  do.  We'll  go  together  on  a 
special  train  to  Washington.  Don't  you  see  it  will 


86         THE  LION  AND  THE  MOUSE. 

be  doing  the  proper  thing  you  know — yielding  to 
public  opinion  and  just  think  how  easy  it  will  make 
it  for  your  brother's  Erie  Canal  Proposition. 

ROBERTS.    Um — I  suppose  it  can  be  done. 

RYDER.    I  thought  so 

(Enter  JORKINS.) 

JORKINS.  Senator  Roberts,  there's  someone  on 
the  telephone  for  you.  (Exits) 

ROBERTS.  Oh,  I'll  bet  it's  something  about  Kate 
all  right.  (Exits  D.  R.) 

(As  soon  as  ROBERTS  exits,  JEFFERSON  comes  down 
stage.) 

JEFFERSON.    Thank  you,  Father.    (Shakes  hands) 

RYDER.  It's  all  right,  my  boy.  But  understand 
it's  not  for  the  man — it's  for  the  girl.  Jeff,  I've 
had  a  hard  night,  not  a  wink  of  sleep.  She  said 
a  few  things  to  me,  didn't  she 

JEFFERSON.  And  you  said  a  few  things  to  me, 
Father. 

RYDER.  I'm  sorry.  (Puts  arm  around  JEFFER 
SON) 

JEFFERSON.  Oh,  that's  all  right.  I'm  afraid  that 
she 

RYDER.  No,  don't  be  afraid — leave  me  alone  for 
a  moment.  (JEFFERSON  goes  to  door)  And — and 
— be  around — (JEFFERSON  exits  R.  RYDER  stands 
for  a  few  moments  as  if  unable  to  move.  Looks  at 
D.  R.  after  his  son,  then  at  check,  which  he  still  holds 
in  his  hand,  then  at  D.  L.  ;  finally  to  D.  L.,  knocks  un 
certainly.  There  is  no  answer — he  knocks  again) 

SHIRLEY.     (Off  stage)    Who  is  it? 

RYDER.  (Firmly)  I  want — (Subsides  with  an 
effort — then  mildly)  Won't  you  come  out  for  a 
moment,  Miss — er — Rossmore?  (With  consider- 


THE  LION  AND  THE  MOUSE.         87 

able  effort — hesitates)  I  want  to  speak  to  you.  I 
want  a  few  words  with  you. 

SHIRLEY.  I  have  already  told  you  that  I  could 
not  see  you,  Mr.  Ryder. 

RYDER.  Yes,  I  know,  but  I  want  to  see  you  very 
much — please  come  out.  (Enter  SHIRLEY)  Ah, 
that's  a  good  girl.  (Goes  to  c.  as  if  ashamed  of 
himself.  SHIRLEY  comes  out  slowly.  She  has  hat 
on  and  is  putting  on  gloves.  She  is  surprised  at  his 
tone — she  looks  at  him  quietly,  waits  for  him  to 
speak.  RYDER  holding  out  check)  Why  did  you 
do  this  ? 

SHIRLEY.    Because  I  didn't  want  your  money. 

RYDER.    It  was  yours,  you  earned  it. 

SHIRLEY.  No,  I  came  here  hoping  to  influence 
you  to  help  my  father.  The  work  I  did  was  part 
of  the  plan,  part  of  the  scheme.  It  happened  to 
fall  in  my  way.  I  took  it  as  a  means  to  get  your 
ear. 

RYDER.    But  it  is  yours,  please  take  it. 

SHIRLEY.  No — I  can't  tell  you  how  low  I  should 
fall  in  my  own  estimation  if  I  took  your  money. 
(Contemptuously)  Your  money — Why  it's  all 
there  is  to  you — it's  your  God.  Shall  I  make  your 
God  my  God — No — Mr.  Ryder. 

RYDER.  (Crosses  R.,  sits)  And  so  I  contaminate 
even  good  money. 

SHIRLEY.  Money  itself  is  either  good  or  bad — 
(Crosses  to  R.  c.)  It's  the  spirit  that  gives  it — 
the  spirit  that  receives  it.  Money  creates  happi 
ness,  but  it  also  creates  misery.  It  destroys  in 
dividuals  as  it  does  nations — it  has  destroyed  you 
for  it  has  warped  your  soul. 

RYDER.    No — I 

SHIRLEY.  I  repeat  it — money — the  power  it  has 
given  you  has  dried  up  the  well  springs  of  your 
heart. 

MAID.  (Entering  R.)  Cab's  at  the  door,  Miss. 
(Exits) 


88         THE  LION  AND  THE  MOUSE. 

RYDER.  You  won't  need  it.  (Rises)  I — I  came 
here  to  tell  you  that  I — (As  if  ashamed  of  himself) 
Ah,  you've  made  it  very  hard  for  me  to  speak. 
(Slowly)  I've  seen  Senator  Roberts  and  I'm  going 
to  Washington. 

SHIRLEY.    My  father 

RYDER.  It's  all  about  your  father.  He'll  not  be 
impeached.  The  matter  will  be  adjusted;  you've 
beaten  me.  I  acknowledge  it,  but  you're  the  first 
living  soul  who  has  beaten  John  Ryder. 

SHIRLEY.  You  mean  that  you  are  going  to  help 
my  father? 

RYDER.    Not  for  his  sake — not  for  his  sake 

SHIRLEY.    Ah,  the  principles  of  the  thing. 

RYDER.    Never  mind  the  principles — it's  for  you. 

SHIRLEY.  (Shakes  her  head)  And  I  had  no 
faith 

RYDER.  (Pauses  as  if  ashamed — crosses  to  R. 
c.)  I'm  going  to  Washington  on  behalf  of  your 
father  because  I — I  want  you  to  marry  my  son. 
Yes,  I  want  you  in  my  family,  close  to  me ;  I  want 
your  respect,  my  girl.  I  want  your  love.  I  want 
to  earn  it.  I  know  I  can't  buy  it.  There's  a  weak 
link  in  every  man's  chain  and  that's  mine,  1  always 
want  what  I  can't  get.  I  can't  get  your  love  un* 
less  I  earn  it.  Oh,  don't  tell  me  I  can,  because  I 
know  I  can't.  (Sees  that  she  is  pensive  and  doesn't 
spjak)  Why,  you  look  almost  disappointed ;  you've 
lotted  your  point,  you've  beaten  me — your  father 
is  fcoing  to  be  restored  to  you.  You  are  going  to 
marry  the  man  you  love—is  thr.t  the  right  time? 
(Lmks  at  watch)  I  leave  in  fif;*en  minutes  for 
Washington.  Will  you  trust  me  to  go  alone,  or 
will  you  go  with  me? 

SHIRLEY.  I  trust  you,  but  I'll  go  with  you. 
(Crosses  to  R.)  It's  very  good  of  you  to  allow  me 
to  win  you  over. 

RYDER.    You  won  me  over  last  night  when  you 


THE  LION  AND  THE  MOUSE.         89 

put  up  that  fight  for  your  father — we're  not  going 

alone.     (Goes  to  door)     Jeff — Jeff 

SHIRLEY.  He'll  be  the  happiest  man  in  the  world 
— father — father — I  want  to  laugh  and  I  feel  like 
crying 

(Enter  JEFFERSON.) 

JEFFERSON.     He  has  told  you?     (Crosses  down 
to  her  c.) 
SHIRLEY.    Yes. 

(Enter  ROBERTS.     Everybody  turns  and  looks  at 
him.) 

ROBERTS.  Kate  has  gone  off  with  Bagley.  (Om 
inously)  Jeff,  my  boy 

RYDER.  Oh,  he'll  get  over  it,  won't  you? 
(ROBERTS  exits)  Mind,  we  leave  for  Washington 
in  ten  minutes.  (Exits  R.) 

SHIRLEY.    We'll  be  there. 

JEFFERSON.    Together  ? 

SHIRLEY.    Together. 

CURTAIN, 


THE  LION  AND  THE  MOUSE. 


KEY  TO  GROUND  PLAN  OF  ACT  I. 

The  sitting-room  of  a  Long  Island  cottage.   It  Is  neat,  but  plain  and 
old  fashioned.    Light  wood-work,  wall  paper,  etc. 
(Autumn — Afternoon) 

A—     Returns.    Al-Teaser  (14  ft.  Trim) 

B—     Backing,  showing  red  brick  wall,  covered  with  vines. 

Bl—    Backing,  showing  village  street,  etc.    (This  is  a  flipper  to  '*  B  ") 

C—     Wing  14  ft.  high. 

D-     Arch  8  ft.  high. 

E—     Bay  Window,  with  ceiling-piece,  etc. 

F-     Jog  14  ft.  high. 

G—     Wing  14  ft.  high. 

H-    Jog  2  ft.  wide,  14  ft.  high ;  from  one  leg  of  arch  "  HI " 

HI—  Arch  2u  ft.  wide,  12  ft.  high.  / 

H2—  Wing  6  ft.  wide,  14  ft.  high ;  forming  other  leg  of  arch  "  HI* 

H3—  H4,  H5-    (See  plan  of  ceiling). 

I-     Wing  4  ft.  wide.  12  ft.  high. 

J—      Door. 

K—    Platform  12  ft.  high.    (Entrances  to  be  made  under  this)i  % 

L~     Steps  to  stage. 

M—     Hall  backing ;  set  under  platform  "  K  ". 

N—    Angle-steps,  at  top  of  flight  "  O  ". 

O—     Steps. 

P—     Platform  (Landing)  2  ft.  high 

Q—     Steps. 

R—     Balustrade-posts,    Rl~    Balustrades. 

S—     Balustrade-post  and  column ;  extending  from  platform  **  P  H  up 

to  and  supporting  ceiling  "  H4  "    See    ceiling-plan, 
T—     Balustrade-post,  at  top  of  steps  "  O  **. 

V-     JSSg£3g:l       Stated  same  «,  set. 

W—    Wing  12  ft.  high,  8  ft.  wide. 

Wl—  Casement  window.    (Not  practical). 

X—     Wing  14  ft.  high,  12  ft.  wide. 

Y—     Door. 

Z—     Dining-room  backing. 

BB--  Dark  interior  backing. 

CC—  Door. 

DD—  Fireplace  backing. 

EE—  Fireplace  opening. 

FF—  Backing,  showing  village  street.    (Slmflarto  **B1 ") 

GG-  Ceiling,  14  ft.  trim. 

1  Chairs.  9  Table. 

2  Armchairs.  10   Sofa. 

3  Easy  Chair.  11    Piano. 

4  Mantel.  12   Piano  stool. 

5  Bookcase.  13    Hatrack. 

6  Stands  14    Window-seat. 

7  Table.  15   Tabaret. 

8  Settee.  16    Whatnot. 

NOTE  FOR  CARPENTER: 

Moulding  at  top  edge  of  pieces  "W"  and  "J"  and  at  same  height 

on  left  part  of  flat "  V  " this  moulding  is  also  on  bottom  edge  of  the 

ceiling    H4  "  along  the  cut-out  section.  ' 


THE  LION  AND  THE  MOUSE.         9* 


!TT  s 

/>*    b. 

i  r         i  >* 


2; 

O 

tu 


© 


V 

0 

&> 


Id 


j 


92         THE  LION  AND  THE  MOUSE. 


SJg 


ir£  3 

N5Q5S 

*  jgllS 

LfilEg  .  .  . 
SfiJl^H 

Sffilli^JS 

PrriiP 

sifiiiii^ 

J 

I 

1  (Niio   ^»   in       ' 
XXti    S    X    >D 

CM 

5 

THE  MOUSE. 

NT  OF  ARCH. 

2          ^ 

(0 

li 

10 

£ 

?l 

Z.U 

X 

i 

in 

O  «4 
*~1  ni 

g 

•-4 

w 

S 

15 

j 

rj 

't1 

—  if 

&ffi 


THE  LION  AND  THE  MOUSE.         93 

PROPERTY  PLOT. 

PLACE: — New  York.  PERIOD: — The  present. 

ACT  I. 

(Sitting-room  of  a  Long  Island  Cottage — Neat  but 
plain  and  old-fashioned.) 

Ground  cloth.    Medallion.    Rugs. 

Carpet  on  steps  and  platform  up  R. 

Portieres  at  window  arch  down  R. 

Portieres  at  window  up  L.  c. 

Scrim  curtains  at  bay  window  down  R. 

Scrim  curtains  at  window  up  L.  c. 

Roller-shade  (Dummy)  at  window  up  L.  C. 

Mantel  and  fireplace  down  L. 

Square  piano  down  R.,  obliqued,  keyboard  upstage. 

Piano-stool  above  and  R.  of  piano. 

Hatrack  in  corner  below  door  up  R. 

Whatnot  in  upper  L.  corner. 

Table  (marble-top)  L.  c. 

Small  table  up  c.,  L.  of  stair-landing. 

Tabaret  below  small  table. 

Stand  back  of  settee  up  c.  L. 

Stand  R.  of  bookcase  up  L. 

Stand  above  window  down  R. 

Bookcase  up  L. 

Sofa  below  stairs  up  c.,  faces  front. 

Settee  in  corner  of  stair-landing  up  c.  L. 

Easy-chair  at  fireplace  down  L. 

Armchair  L.  of  piano  R. 

Armchair  R.  of  table  L.  c. 

Chair  L.  of  table  L.  c. 

Chair  below  window  down  R. 

Window-seat  in  window  down  R. 


94         THE  LION  AND  THE  MOUSE. 

Bell-rope  below  door  up  L.  PRACTICALLY  con 
nected  to  a  tinkle-bell  off  L.,  attached  to  back  of 
wing. 

Old-fashioned  pictures  on  walls. 

Old-fashioned  portraits  (in  oval  frames)  on  walls. 

AT  FIREPLACE — Coal-grate.    Fender,  etc. 

ON  MANTEL — Lambrequin.    Ornaments.    Vase  with 

cheap  flowers.    Modern  photos.    Written  letter. 
ON  BOOKCASE  up  L. — Old-fashioned  clock  (set  at 

3 :  30).    Vase  with  cheap  flowers.    Four  photos 

(modern)    unframed.     Law  books  and  other 

books  on  shelves. 
ON  PIANO — Large  oil-lamp,  with  shade.    Bowl,  with 

cheap  flowers. 
ON    TABLE    L.    of    stair-landing — Large    oil-lamp 

(with  shade). 
ON    WHAT-NOT — Ornaments.      Sea-shells,    curios, 

etc. 

ON  STAND  back  of  settee  up  c.  L. — Fern  on  holder. 
ON  STAND  R.  of  bookcase — Books.    Magazines. 
ON  STAND  down  R. — Large  vase. 
ON  TABARET  up  c.  L. — Small  palm  in  jardiniere. 
ON  WINDOW-SEAT — '") 

SOFA f-  Sofa  pillows. 

SETTEE —  J 

ON  HAT-RACK — Two  hats.    Cane.    Umbrella. 
ON   TABLE  L.   c. — Two  law  books.     Two  stock 
broker's    reports.      Several    legal    documents. 

Pad  of  writing  paper.     Pencil.     Matches  in 

stand.     Ash-tray. 

SIDE 

L.  u.  E. — Tinkle-bell  (of  different'  tone  to  that  at 
tached  to  bell-cord). 

R.  u  E. — Carriage-wheel  effect. 

R.  3  E. — Door  slam.  Traveling  bag;  steamer  rug  in 
sb^wl  strap-  (ST/>TT) 


THE  LION  AND  THE  MOUSE. 


95 


R.  3  E. — Steamer  trunk. 

Thirty-inch  trunk. 
Hat-trunk  (used  for 
seat). 


(EXPRESSMAN) 

(All  have  seen 
use  and  have 
many  foreign 
hotel  and  Rail 
road  labels.) 


HAND 

BEETLE — Cards  in  black  leather  card-case. 

Miss  NESBITT — Hand-bag  with  four  visiting  cards, 

4  large  business  cards,  6  small  printed  tickets, 

small  note-book,  small  pencil. 
JEFFERSON — Cards  in  card-case;  N.  Y.  paper  with 

cut  of  woman  in  it. 
SHIRLEY — Traveling  bag. 
STOTT— Cigar ;  matches ;  4  documents ;  paper  money. 


96        THE  LION  AND  THE  MOUSE. 


LIGHT  PLOT. 


ACT  I. 

Bunch  back  of  window  down  R. 

Red  bunch  back  of  window  down  R.  (to  go  on  at 

cue.) 

Bunch  R.  and  L.  of  window  up  L.  c. 
Red  bunch  R.  and  L.  of  window  up  L.  c.  (to  go  on  at 

cue). 

Strip  (3 — lamp)  on  platform  off  R. 
Strip  (3 — lamp)  over  door  up  R. 
Strip  (2 — lamp)  over  door  up  L. 
Strip  (2 — lamp)  over  door  L.  2. 
Coal-grate  in  fireplace  L.  (Not  lighted). 

AT  RISE 

FOOTS  and  ist  Border  full  up. 
RED  FOOTS  and  ist  Border  y±  up. 

it's  too  recent.     (SHIRLEY) 

READY 

truly  first  and  only— (SHIRLEY) 

GRADUALLY 
LOWER  white -lights  to  fy. 
RAISE  red  foots  to  full. 
RED  BUNCHES  on  to  full 


THE  LION  AND  THE  MOUSE.         97 


98         THE  LION  AND  THE  MOUSE. 
PROPERTY  PLOT. ' 

ACT  II. 

(Handsome  Library — Carved  Oak  Furniture.) 

Floor  cloth  (painted  as  hard-wood  parquet  flooring). 
Small  medallion  under  desk  L.,  and  obliqued  to  same 

angle  as  desk. 
Fur  rug  at  fireplace  R. 
Rug  in  front  of  doors  c. 
Large  rug  back  of  doors  c. 
Massive  mantel  and  fireplace  R. 
Tapestry  portieres  at  window-arch  I* 
Heavy  lace  curtains  at  bay  window  L. 
Large  bookdase  R.  of  doors  c. 
Large  bookcase  L.  of  doors  c. 
Cabinet  (or  cellaret)  with  door  (key  to  this  door  to 

BAGLEY)  above  mantel. 
Stand  below  mantel. 

Table  at  L.  end  of  bookcase  R.  c.  (with  lower  shelf). 
Small  table  above  window  L. 
Large  table  desk  (5  ft.  long)  down  L.  c.,  obliqued 

with  line  of  left  wall. 
This  desk  is  massive  and  rich.     Row  of  drawers 

above  and  below  knee-hole,  on  L.  side  of  desk. 

Key  to  2nd  drawer  from  top,  down-stage,  for 

RYDER. 

Short  settee  R.  c. 
Easy-chair  at  fireplace. 
High-backed  armchair  L.  of  desk. 
Chair  down  L. 
Chair  R.  of  desk. 
Chair  R.  end  of  bookcase  R.  c. 
Footstool  below  easy-chair. 
Davenport  against  backing  of  doors  C* 


THE  LION  AND  THE  MOUSE.         99 

Stand  R.  of  davenport. 

Stand  L.  of  davenport. 

AT  FIREPLACE — Large  andirons.  Fender.  Shovel, 
poker  and  tongs  in  stand.  Gas-log,  lighted. 
(ELECTRICIAN) 

ON  MANTEL — Two  large  low  pieces  of  dark  pottery. 

ON  TABLE  up  L. — Books,  magazines. 

ON  STAND  down  R. — Handsome  bust  of  "  Na- 
POLEON  ". 

ON  EACH  BOOKCASE — Large  bronze  figure.  Books 
(8  or  I o  to  be  removed)  on  shelves. 

IN  CABINET — Box  of  long  black  cigars  (Practical). 
Other  cigars  and  cigarette  boxes. 

ON  DAVENPORT — Sofa  pillows. 

ON  STANDS  R.  and  L.  of  davenport — Palm  in 
jardiniere. 

ON  TABLE  up  c.  D. — Books,  magazines. 

ON  DESK  L.  c. — Large  brass  mounted  blotter-pad 
(on  left  side).  Large  double  inkstand.  Calen 
dar  in  stand.  Paper  and  envelopes  in  rack. 
Engagement  pad.  Scratch-pad.  Blotters. 
Pens.  Pencils.  Paper-weights.  Paper-knife. 
Pile  of  opened  letters  under  weight.  2  Piles  of 
folded  documents.  Draft  of  an  Act  of  Congress. 
Matches  in  heavy  brass  combination  holder  and 
ashtray.  Two  New  York  Evening  papers  (on 
R.  side).  Two  desk-phones  at  upper  end. 
(ELECTRICIAN).  House-phone  (English  style) 
on  lower  end.  (ELECTRICIAN).  Typewritten 
document  with  backing,  on  upper  end  of  desk- 
pad.  Well-bound  novel  on  upper  end,  with  6 
slips  for  book-marks  at  intervals  between  leaves. 
Small  ornamental  tap-bell. 

SIDE 

R.  u.  E. — Tin  dispatch-box,  with  10  letters,  4  written 
manuscripts,  8  documents.    QORKINS) 
Salver,  visiting  card.    QORKINS) 


roo       THE  LION  AND  THE  MOUSE. 

Mahogany  tray  with  handles : — Silver  pot  filled 
with  hot  tea ;  milk  in  silver  creamer ;  sugar  and 
tongs  in  silver  sugar-bowl ;  slices  of  lemon  and 
lemon  fork  on  small  dish ;  6  five  o'clock  teacups, 
saucers  and  spoons.  (SERVANT) 

HAND 

ROBERTS — 'New  York  Evening  paper;  matches  in 
case. 

BAGLEY — Bunch  of  keys  on  ring  and  chain,  with  key 
to  cabinet  door ;  list  of  names  on  writting-pad ; 
silver  pencil ;  visiting-card. 

KATE — Note,  in  opened  envelope  (Not  mail). 

MRS.  RYDER — Typewritten  letter  on  large  note- 
paper,  in  square  envelope  opened,  addressed 
to  "Mr  John  B.  Ryder,  1214  Fifth  Ave., 
Manhattan  (mail). 

RYDER — Bunch  of  keys  on  ring  and  chain,  with  key 
to  dispatch-box  used  by  JORKINS  and  key  to 
2nd  drawer  on  down-stage  side  of  desk. 


THE  LION  AND  THE  MOUSE.       101 
LIGHT  PLOT. 

ACT  II. 

Bunch  back  of  stained-glass  window  up  c. 

Red  bunch  back  of  stained-glass  window  up  C. 

Bunch  back  of  window  down  L. 

Red  bunch  back  of  window  down  L. 

Long  strip  over  double-doors  c. 

Long  red  strip  over  double-doors  c. 

Large  fire-log  in  fireplace  R.  (Lighted) 

Amber  and  orange  bunch  in  fireplace  L. 

Dome  chandelier  hanging  over  desk  L.  (Not  lighted 

in  ACT  II). 

Two-arm  bracket  with  dark  shades  above  mantel. 
Two-arm  bracket  with  dark  shades  below  mantel. 
Two-arm  bracket  with  dark  shades  up  R.  c. 
Two-arm  bracket  with  dark  shades  up  L.  c. 
(Brackets  not  lighted  in  ACT  II.) 
Two  desk  telephones  on  upper  end  of  desk  L. 
House-phone  (English  style)  on  lower  end  of  desk. 
Two  sets  of  telephone-bells  (of  different  tones) 

concealed  in  window  L.  to  be  rung  from  off 

stage). 
Buzzer  concealed  in  desk  L.,  to  be  rung  from  off 

stage. 
Button  under  lower  L.   edge  of  desk  L.,  to  ring 

buzzer  off  stage  up  R. 

Push-switch  L.  of  doors  c. 

AT  RISE 

FOOTS  and  ist  Border  full  up. 

RED  FOOTS  and  ist  Border  full  up. 

ALL  BUNCHES  and  strips  full  up. 

deserves  to  be  punished  (SHIRLEY) 


102       THE  LION  AND  THE  MOUSE. 

READY. 

the  one  who  did  it  (RYDER) 

VERY  gradually — 

LOWER  WHITE  lights  to  y2. 

PROPERTY  PLOT. 

ACT  III. 
{Same  as  ACT  II.    Eight  weeks  later.) 

STRIKE — Tea  things. 

STRIKE — Papers,  etc.,  that  were  in  dispatch-box. 

STRIKE — Dispatch-box. 

Slightly  re-arrange  articles  on  desk  and  the 

furniture. 

SIDE 

R.  u.  E. — Chairs  and  music  stands.    Piano  and  stool. 

HAND 

STOTT — Three  of  the  letters  that  were  in  dispatch- 
box  in  ACT  II. 

LIGHT  PLOT. 
ACT  III. 

BLUE  bunch  back  of  stained-glass  window  up  c. 

BLUE  bunch  back  of  window  L. 

Other  strips  and  bunches  as  in  ACT  II. 

Brackets  on. 

Dome  chandelier  on. 

AMBER  light  in  hall. 

FOOTS  and  1st  Border  ^  up. 

RED  FOOTS  and  ist  Border  J^  up. 


THE  LION  AND  THE  MOUSE.       103 

MUSIC  CUES. 
ACT  III. 

(ORCHESTRA  on  stage,  R.  u.  E.  immediately  after 
rise.) 

No.  I (as  soon  as  possible  after  rise) 

WALTZ  pp  until  telephone  rings. 

the     devil     is     this     Bagley? 

(ROBERTS) 
READY. 

No.  2 is   the   Rossmore   case  going? 

(RYDER)    One  Step  pp  until 

I'll   attend   to    Fitz   presently. 

(ROBERTS) 

>   .   .    .    .  combat     your     father's     will. 
(SHIRLEY) 
READY. 

No.  3 money-gods     of     the     world. 

(SHIRLEY) 
WALTZ  andante  (pp)  until  curtain. 


104       THE  LION  AND  THE  MOUSE. 


THE  LION  AND  THE  MOUSE.        105 

PROPERTY  PLOT. 
ACT  IV. 

(Dainty  and  white  boudoir — white  or  mahogany 
furniture.) 

Ground  cloth.    Light  medallion.    Rugs. 

Light  rug  back  of  door  L. 

Dark  rug  back  of  door  R. 

Portieres  at  window-arch  R. 

Single  portiere  at  door  R. 

Single  portiere  at  door  L. 

Scrim  curtains  at  bay-window  R. 

Mantel  and  fireplace  up  L.  c. 

Window-seat  in  window  R.,  upholstered  in  same 

material  as  portieres. 
Book-case  down  L. 
Table-desk  in  window  R. 
Table  c.  L. 

Console  table  down  R. 
Tabaret  L.  of  console-table. 
Tabaret  below  mantel  L. 
Pedestal  in  corner  up  c. 
Easy-chair  R.  c. 
Arm-chair  at  fireplace. 
Small  chair  below  desk  R, 
Chair  below  door  L. 
Stool  L.  of  table  c.  L. 
Dressing-table  against  backing  of  door  L. 
Pedestal  above  dressing  table. 
Dainty,  handsome  pictures  on  walls. 
Pictures  on  backing  over  dressing  table. 
AT  FIREPLACE — Brass  andirons.     Fender.     Poker, 

shovel  and  tongs  in  stand.    Two  half-burnt  logs. 

Ashes. 


io6       THE  LION  AND  THE  MOUSE. 

ON  MANTEL — Clock.  Ornaments.  Two  photos  in 
silver  frames. 

ON  BOOKCASE — Vase  with  faded  flowers.     "Doors 

backed  by  curtain  of  same  material  as  portieres. 

ON  TABLE  c. — Books. 

ON  CONSOLE  TABLE — Bowl  of  faded  flowers. 

ON  TABARET  R. — Fern  in  holder. 

ON  TABARET  L. — Tall  vase. 

ON  PEDESTAL  UP  c. — Statuette. 

ON  WINDOW-SEAT — Sofa  pillows  covered  with  same 
material  as  portieres. 

ON  DESK — Dainty  desk-set,  inkstand,  etc.  Note- 
paper  and  envelopes  in  rack.  Pens.  Paper 
weight.  Several  books.  10  mailed  envelopes, 
open.  Calendar  in  frame.  Desk-lamp. 
(ELECTRICIAN). 

ON  DRESSING  TABLE  back  of  door  L. — Lace  cover. 
Toilet  articles  (for  woman)  ad  lib. 

ON  PEDESTAL  R.  of  dressing  table — Vase  of  flowers. 

SIDE 

R.  i  E. — Tray: — Doiley;  small  china  teapot,  with 
hot  tea;  milk  in  creamer;  sugar  and  tongs  in 
sugar-bowl;  cup;  saucer  and  spoon;  plate  of 
small  biscuit;  napkin. 

L.  2  E. — Clean  chair  for  SHIRLEY. 

HAND 

RYDER — Written  check;  watch  and  fob. 

ROBERTS — New  York  morning  paper. 


THE  LION  AND  THE  MOUSE.        107 

LIGHT  PLOT. 
ACT  IV. 

BLUE  bunch  above  and  below  window  R. 

RED  bunch  above  and  below  window  R.  (to  go  on 

at  cue) 
WHITE  bunch  above  and  below  window  R.  (to  go 

on  cue)  , 

Two  small  orange  bulbs  in  ashes  of  fireplace.     (On 

at  rise — they  gradually  dim  off  towards  end  of 

ACT) 

Strip  (2 — lamp)  over  door  L. 
Strip  (2 — lamp)  over  door  R. 
( i — lamp  on  at  rise — turn  other  lamp  on  after  lights 

are  up) 

Two-arm  bracket,  Light  shades,  below  window  R. 
Two-arm  bracket,  Light  shades,  below  door  L. 

(Not  practical.) 

Small  desk  lamp  on  desk  R.  (Not  practical). 
AT  RISE 

FOOTS  and  1st  Border  l/%  up. 
BLUE  FOOTS  and  ist  Border  J/£  up. 
BLUE  BUNCHES  full  up. 

(immediately  after  rise) 

GRADUALLY— 

BRING  WHITE  bunches  up  to   ^2   then  dim  blue 

bunches  out  and  bring  red  bunches  up  to  full; 

then  white  bunches  up  to  full. 

minutes  or  two  ahead  of  lights  on  stage. 

and  ist  Border. 

Make  the  entire  change  in  ten  minutes. 
Keep  the  lights — change  back  of  window  a   few 
At  same  time  make  corresponding  changes  in  foots 


io8       THE  LION  AND  THE  MOUSE. 

DRESS  PLOT. 
PLACE  :— New  York.  PERIOD  : — The  present. 

ACT  I.  Autumn.    Afternoon. 

ACT  II.  Winter.    Afternoon. 

ACT  III.  Two  months  later.    Night. 

ACT  IV.  Dawn,  the  next  morning. 

Ex- JUDGE  STOTT — (Age  55) 

ACT  I.      Dark  walking  suit,  hat,  etc; 

ACT  II.     Frock  suit,  etc. 

JUDGE  ROSSMORE — (Age  65) 

Black  frock  suit,  felt  hat,  etc. 
JEFFERSON  RYDER — (Age  24) 
ACT  I.        Walking  suit,  hat,  etc. 
ACT  II.      Afternoon  suit. 
ACT  III.     Evening  dress,  white  gloves,  etc. 
ACT  IV.     Sack  suit. 
JOHN  BURKETT  RYDER — (Age  50) 
ACT  II.      Frock  suit. 
ACT  III.     Evening  dress. 
ACT  IV.     Frock  suit. 
SENATOR  ROBERTS — (Age  60) 
ACT  II.      Black  frock  coat,  gray  trousers,  etc. 
ACT  III.     Cutaway  suit. 
ACT  IV.     Same  as  ACT  III. 
HON.  FITZROY  BAGLEY — (Age  35) 

Afternoon   frock   suit.      (Very   English 

in  style) 
REV.  PONTIFEX  DEETLE — (Age  45) 

Clerical    coat,    vest,    collar,    hat,    etc. 

Black  trousers,  black  gloves. 
JORKINS— (Age  50) 
ACT  II.      Butler's  costume.     Dress  coat,  high-cut 


THE  LION  AND  THE  MOUSE.        109 

black  vest,  gray  striped  trousers, 

four-in-hand  tie,  etc. 
ACT  III.     Same  as  ACT  II  except  dress  vest  and 

black  string  tie. 
ACT  IV.     Same  as  ACT  III. 
FOOTMAN — Livery. 

EXPRESSMAN — Rough  trousers,  boots,  hat,  shirt,  etc. 
SHIRLEY  ROSSMORE — (Age  22) 
ACT  I.        Handsome  traveling  costume,  coat,  hat, 

gloves,  etc. 

ACT  II.       Neat  walking  suit;  hat,  gloves,  etc. 
ACT  III.     Handsome  evening  gown,  gloves,  etc. 
ACT  IV.     Neat  walking  dress,  hat,  gloves,  etc. 
MRS.  RYDER — (Age  42) 
ACT  II.      Elaborate  afternoon  costume,  hat,  gloves, 

etc. 

ACT  III.     Elaborate  evening  gown,  gloves. 
ACT  IV.     Handsome  dressing-gown,  slippers,  etc., 

( somewhat  dishevelled ) . 
KATE  ROBERTS — (Age  20) 
ACT  II.      Handsome  afternoon  dress,  hat,  gloves, 

etc. 

ACT  III.     Handsome  evening  gown,  gloves. 
MRS.  ROSSMORE — (Age  55) 

Handsome  afternoon  house  dress. 
Miss  NESBITT — (Age  25) 

"  Smart "  walking  dress ;  hat,  gloves, 

etc.     (Considered  "THE  THING" 

in  a  small  Long  Island  village,  but 

a  bit  belated  in  style). 
Miss  JANE  BEETLE — (Age  40) 

Old-fashioned,  plain  black  silk  dress; 

lace  collar  with  a  cameo  breast 
pin  ;  hat,  black  silk  "  mits  " ;  black 

silk  reticule,  etc. 
EUDOXIA — (Age  30) 

Calico  dress,  long  bib-apron. 
MAID— (Age  20) 

Maid's  white  uniform,  cap,  apron,  etc. 


I  io       THE  LION  AND  THE  MOUSE. 


COSTUMES  PLOT. 

MR.  BEETLE — Clergyman's  coat,  vest,  trousers 
and  hat. 

FOOTMAN — Dress  coat  with  silver  buttons;  club 
vest;  trousers  with  narrow  silver  braid  down  the 
sides. 


CURTAIN  CALLS, 
ACT  I. 

1st   CALL — Shirley,  Jefferson. 
2nd  CALL — Shirley,  Jefferson. 

ACT  II. 

ist   CALL — Those  on  at  Curtain. 
2nd  CALL — Shirley,  Jefferson,  Ryder* 
3rd  CALL — Shirley,  Jefferson. 

ACT  III. 

1st   CALL — Jefferson  and  Ryder. 
2nd  CALL — Shirley,  Jefferson,  Ryder. 
3rd  CALL — Shirley,  Jefferson,  Ryder. 

ACT  IV. 
Shirley,  Jefferson,  Ryder. 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 

AN  INITIAL  FINE  OF  25  CENTS 

WILL  BE  ASSESSED  FOR  FAILURE  TO  RETURN 
THIS  BOOK  ON  THE  DATE  DUE.  THE  PENALTY 
WILL  INCREASE  TO  SO  CENTS  ON  THE  FOURTH 
DAY  AND  TO  $1.OO  ON  THE  SEVENTH  DAY 
OVERDUE. 


AUG  14  1937 

l5May'58C8| 

RPC'H  ;  o 

sENtomu- 

nrP  A  l|  ?GQ 

Ut.v/  U 

*Y 

U.C.BEHKEU 

«  1 

LD  21-5m-6,'37 

YB    MSI 7 


384731 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


